UN VIAJE POR LA HISTORIA DEL PERFORMANCE
1916 - 1939
Kazuo Shiraga: Looking Beyond the Brush
In this episode of Expert Voices, Chairman Amy Cappellazzo and Senior Director Yuki Terase discuss the groundbreaking abstraction of Kazuo Shiraga’s masterpiece Tentaisei Soushiko. "I wanted to paint as if it was a fight. Until I fell down from exhaustion”, Shiraga once remarked, and this total involvement of mind and body are especially palpable in Tentaisei Soushiko. Part of the artist's esteemed Water Margin series, this outstanding work will be offered as a highlight of Sotheby’s Art Contemporain Evening Sale. (Paris|4 December)
Das Triadische Ballet
Information on the original piece below: Oskar Schlemmer described his Triadic Ballet as a ‘party in form and colour’. Form, colour and abstraction began to define the way in which the human figure was depicted in the work of painter and sculptor Oskar Schlemmer from an early stage. The Triadic Ballet was his first major theatrical work, already created in Stuttgart in 1922 before his time at the Bauhaus. Here again, he reduced the human figure to basic geometric shapes: abstract costumes made of rigid, movement-inhibiting pieces determined the peculiar quality of the ‘ballet’. Schlemmer regarded the work as a form of ‘artistic metaphysical mathematics’. In three dance sequences, he intensified the drama from humorous and farcical to mystical and heroic qualities, without following any specific plot. Schlemmer’s Ballet thus became an anti-dance, a kind of ‘choreographic constructivism’ – and was extremely successful at its first performance at the Bauhaus in 1923. Source:- http://www.bauhaus.de/ The original piece can be located here https://www.youtube.com/watch?v=mHQmnumnNgo&t=245s
1940 - 1969
3 minutes d'art - Michel Journiac
ARTORA vous propose 3 minutes d'art ! 3 minutes pour parler d'une oeuvre qui nous émeut, qui nous interpelle, qui résonne, parfois, avec l'actualité. Pas de chronologie, pas de suite logique : des coups de ❤️ puisés dans toute l'histoire des arts. Aujourd'hui, Perla Msika nous parle de Michel Journiac !
ARNULF RAINER - Rainer Dying
Arnulf Rainer (born 8 December 1929, in Baden, Austria. Austrian painter, printmaker and photographer. He began painting as a self-taught artist in the mid-1940s, after leaving school, and first came into contact with contemporary art through a British Council exhibition in 1947 that included work by Paul Nash, Francis Bacon, Stanley Spencer, Henry Moore and Edward Burra. Music; Virgin Prunes - Song
Robert Morris – Bodyspacemotionthings | TateShots
Interactive art was a new concept when the exhibition Bodyspacemotionthings first went on show at the Tate in 1971. Created by the American artist Robert Morris, it consists of a series of beams, weights, platforms, rollers, tunnels and ramps that people can clamber all over. It closed just four days after opening, due to safety concerns over the wildly enthusiastic reaction of the audience. For The Long Weekend 2009 the exhibition was recreated at Tate Modern using stronger, modern materials. In this film we watch the reaction of todays visitors, and speak to curators Catherine Wood and Kathy Noble about Morriss vision and influence.
Kusama Infinity - Clip - Happening
Like on Facebook: https://www.facebook.com/KusamaMovie/ Now the top-selling female artist in the world, Yayoi Kusama overcame impossible odds to bring her radical artistic vision to the world stage. For decades, her work pushed boundaries that often alienated her from both her peers and those in power in the art world. Kusama was an underdog with everything stacked against her: the trauma of growing up in Japan during World War II, life in a dysfunctional family that discouraged her creative ambitions, sexism and racism in the art establishment, mental illness in a culture where that was particularly shameful and even continuing to pursue and be devoted to her art full time on the cusp of her 90s. In spite of it all, Kusama has endured and has created a legacy of artwork that spans the disciplines of painting, sculpture, installation art, performance art, poetry and literary fiction. After working as an artist for over six decades, people around the globe are experiencing her installation Infinity Mirrored Rooms in record numbers, as Kusama continues to create new work every day. In theaters September 7th. https://www.kusamamovie.com/
Hermann Nitsch's AKTION 135 at the 2012 Havana Biennial
Not the faint hearted the performance by the controversial Austrian artist Hermann Nitsch and a group of students of the University of the Arts staged performance number 135 has got to win the award for the most shocking display of the 11th Havana Biennial. Brilliant in its execution this may not be everyone's cup of tea but this was something to be seen up close and personal... The almost bucolic atmosphere of the campus of the Instituto Superior de Arte (ISA) in Havana witnessed on the evening of Monday, May 14, 2012, a disturbing event: the controversial Austrian artist Hermann Nitsch and a group of students of the University of the Arts staged performance number 135, by one who is considered one of the "fathers" of this manifestation, and founder, along with Otto Muehl and Rudolf Schwartzkogler, of the "Viennese Actionism." Jesus against the Universe is the name of this action, in which a pig and a fish were gutted and the blood smeared on the student/artists, who were completely involved and focused on what they did. Those of us present who managed to overcome the violence of the event couldn't help going back to archaic stages of human development when men believed they could decipher the future in the entrails of animals, or were sacrificed and offered to the gods. The students, wrapped in white robes that soon became stained with the unmistakable red of blood, also reminded us of the virgins who were sacrificed to appease divine wrath, although the naked bodies tied to a tree referred us to the crucifixion of Christ, explicitly put forward in the title of the performance. However, the music performed by the University's Symphony Orchestra, the Septeto Nacional Ignacio Piñeiro and several musicians from Síntesis, plus the tropical fruit used in the action, forced a quick relocation in space and time, directing the viewer to certain ritual ceremonies of Afro-Cuban religions. An evocation of Homage to Ana Mendieta and The Burden of Guilt, by the also controversial Cuban artist Tania Bruguera, was also inevitable. The acrid smell of blood, spilled, smeared on, drunk; the jumble of viscera; the red that stained bodies and clothes; but most of all the obvious enthusiasm of the officiants made us acknowledge certain truths in William Golding's novel "The Lord of the Flies" with its allegory of human society and the unpredictable extent of instincts out of control. Are we so far as we believe we are from atavistic fears, from the "primitive" uncertainties and behaviors of our ancestors? Do cruelty and violence as well as noble sentiments unite us with all human beings? With the terrifying beauty of the contrast between the hackneyed purity of white in clothes and panels and the symbolism of red, the brief nudity of bodies, the dramatic staging of the ritual and the invasion of all the senses of the viewers, Nitsch--who the next day received an honorary doctorate at the University of the Arts--and his Cuban collaborators hoped to produce in the audience a cathartic reaction that would release them from the stresses produced by a chaotic world. From what I saw, they did, as well as other side effects that they possibly never suspected could happen. The friend who accompanied me, who gulped more than once during the entire performance, yearning for the Ship of Tolerance and its message of hope, confessed to me that he was seriously thinking of going vegetarian. Perhaps environmentalists and societies for the prevention of cruelty to animals, who have both criticized the practices of the famous Austrian artist, will thank my friend for his sudden conversion. To read more about this story and to see many more Cuba related stories see http://www.cubaabsolutely.com/
Otto Muehl 🖼️ Artworks
#Otto_Muehl _______________ - Born: June 16, 1925; Mariasdorf, Austria - Died: May 26, 2013; Moncarapacho, Portugal - Active Years: 1962 - 2000 - Nationality: Austrian - Art Movement: #Viennese_Actionism, #Performance_Art - Genre: #performance, #photo - Field: #photography, #performance, #installation - Art institution: Akademie der Bildenden Künste Wien, Vienna, Austria - Wikipedia: en.wikipedia.org/wiki/Otto_Muehl _______________ Otto Muehl was an Austrian artist, who was known as one of the co-founders as well as a main participant of Viennese Actionism and for founding the Friedrichshof Commune. In 1943, Muehl had to serve in the German Wehrmacht. There he registered for officer training. He was promoted to lieutenant and in 1944 he took part on infantry battles in the course of the Ardennes Offensive. After the war, he studied teaching German and History, and Pedagogy of Art at the Wiener Akademie der bildenden Künste. In 1972 he founded the Friedrichshof Commune, which has been viewed by some as an authoritarian sect, and that existed for several years before falling apart in the 1990s. In 1991, Muehl was convicted of sexual offences with minors and drugs offences and sentenced to 7 years imprisonment. He was released in 1997, after serving six and a half years, and set up a smaller commune in Portugal. After his release, he also published his memoirs from the prison (Aus dem Gefängnis). In the 1960s, Muehl's aim was 'to overcome easel painting by representing its destruction process'. He made rhizomatic structures with scrap iron ("Gerümpelplastiken"), but soon proceeded to the "Aktion" in the vein of the New York Happenings. In 1962, when he was 37, the first "Aktion" "Die Blutorgel" was performed in Muehl's atelier in the Perinetgasse by Muehl himself, Adolf Frohner, and Hermann Nitsch. The "Fest des psycho-physischen Naturalismus" and "Versumpfung einer Venus" followed in 1963. From 1964 to 1966, many "Malaktionen" were filmed by Kurt Kren and photographed by Ludwig Hoffenreich. In 1966, a new concept of Aktion was developed with Günter Brus: instead of the canvas, the body became the scene of action. In 1968, Muehl, Brus, and Oswald Wiener organised an Aktionsveranstaltung titled Kunst und Revolution in the University of Vienna, which caused a scandal in the press; they were arrested and Brus emigrated to Berlin. Gradually, Muehl began to distance himself from "Aktion". He regarded the "happening as a bourgeois art form, mere art". The "transition from art to life" resulted in the founding of the Friedrichshof commune as a kind of anti-society. The declared aim was the destruction of bourgeois marriage and private property, free love, and collective education of the children. In 1974 he played a small role as a member of an anarchic/therapy commune in Dusan Makavejev's Sweet Movie. In the eighties, tensions within the commune increased until they culminated in a revolt. When, on top of that, Muehl was arrested and imprisoned in 1991, the commune fell apart. In 1998, Muehl moved to Faro, Portugal to live in a new commune experiment. Critics such as former community member Andreas Schlothauer point to Muehl's strong authoritarian tendencies. For example, Muehl did not expose himself to the rituals of the Aktionsanalyse. He required members to crush the "body armor" (after Wilhelm Reich) and in some individual cases he experimented with the so-called “Watschenanalyse” ("slapping analysis"). He also created a "structure", in which all community members were placed in a hierarchical pecking order by numbering them. He established a "first wife" and prepared his son to become his successor, which further reveals Muehl's extreme authoritarianism. Paradoxically, in the hierarchical level right below Muehl was a strong matriarchal element of rival women, according to Schlothauer. _____________________
Senga Nengudi: R.S.V.P. | RADICAL PRESENCE | YBCA
See more about the exhibition, "Radical Presence: Black Performance in Contemporary Art" at http://ybca.org/radical-presence Maren Hassinger activates Senga Nengudi’s work from the well-known 1955–77 series R.S.V.P. Nengudi creates an installation out of common nylon stockings that are stretched into poetic sculptural form. In activating the work, Hassinger moves through it, pulling, stretching, and knotting the nylon and, in doing so, highlighting the muscular forces of the body itself. About "Radical Presence: Black Performance in Contemporary Art": YBCA is thrilled to be the only West Coast venue for Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of performance art by black visual artists from the United States and the Caribbean. The artists included in this exhibition have been using performance in their work for more than five decades, generating an incredible wealth of performance art that has been largely unrecognized until now. Radical Presence explores the history of black performance traditions within visual arts, beginning with Fluxus and Conceptual art in the 1960s all the way through present practices. This groundbreaking exhibition features video and photo documentation of performances, performance scores and installations, audience interactive works, as well as works created as a result of performances. Live performances will be scheduled throughout the run of the exhibition, including a special opening day celebration packed with nine performances.
1970 - 1980
William Wegman, Selected Works (Dog Duet, Used Car Salesman, Dog Biscuit in Glass Jar), 1972
The American artist William Wegman is most famous for his inventive and cheeky photograph and video collections, which employ his Weimaraner dogs as the main subjects. The first two Weimaraners he owned back in the 1970s, Man Ray and Fay Ray, became his main subjects, and their constant presence in his work led to a sort of “celebrity” status for them. In the video clip Dog Duet, Wegman places his two Weimaraners in front of a stationary camera, and commands their gaze and attention by moving around a tennis ball, which remains unseen off camera. During this short clip, the dogs’ fascination with the tennis ball draws just as equally the viewers’ own attention to the video. The innocent fascination of the two dogs in turn fascinates and captures the viewers, and one may wonder whether the dogs will eventually jump for the ball, or if they will remain obediently in their spots in front of the camera, admiring the tennis ball from just feet away. On the other hand, Used Car Salesman, has a uncomfortable (rather than an endearing) aura about it. In this short video, Wegman is cradling and suggestively fondling one of his Weimaraners, while he dialogues with an unseen character telling them that because of his dog’s trust in him they should subsequently trust him as a salesman. As the dog remains submissively in his lap throughout the clip, perhaps Wegman is providing his own representation of a crooked salesman or provoking thoughts about commercialism. Lastly, in the final clip one of Wegman’s Weimaraners is trying to desperately obtain a dog biscuit from a tall glass jar. Wegman chronicles his dog’s struggle to release the biscuit from the jar, and again he draws the viewer in by showing a seemingly insignificant, yet compelling, clip of his dog’s “child-like” fascination and determination.
99 SECONDS OF: KATHARINA SIEVERDING / WELTLINIE
KATHARINA SIEVERDING IN DER AKADEMIE-GALERIE Von 14. Mai bis 26. Juni 2016 zeigt die Akademie-Galerie der Kunstakademie Düsseldorf „Weltlinie 1969 – 2016 Projected Data Images“ von Katharina Sieverding. Die Künstlerin hat die Ausstellung speziell für die Räume der Akademie-Galerie konzipiert und entwickelt. Über fünf Projektoren werden acht unterschiedliche fotografische und filmische Werkblöcke aus den Jahren 1969-2016 vorgeführt, die zum Teil unmittelbar für die Ausstellung produziert oder aktualisiert wurden. Die Ausstellung ist von der innovativen Eindrücklichkeit der wandgroßen Bild- und Filmprojektionen und deren unterschiedlichen Rhythmen ihrer Abfolge bestimmt. Wir trafen die Künstlerin zum exklusiven Interview. Danke! -------- KATHARINA SIEVERDING AT ACADEMY-GALLERY IN DÜSSELDORF 14 May - 26 June 2016 The Academy-Gallery of the Art Academy in Düsseldorf presents Katharina Sieverding "World Line 1969-2016 Projected Data Images". The Düssedorf based artist has created this exhibition especially for the five big rooms at the gallery. Projected via five projectors Sieverding will present eight different works which where produced between 1969 and 2016. For her the life size projection is an important part of her artistic process. We met the artist for an exclusive interview. Many thanks! ein Film von Ralph Goertz / a film by Ralph Goertz © IKS 2016 Works © VG Bild-Kunst, Bonn 2016 used by permission of the artist www.iks-medienarchiv.de
1981 - 1990
1991 - 2000
1991 - 2000