PERFORMANCE ART

What is performance art?

• Lucrări artistice create prin acțiuni realizate de
artiști/artiste sau alți participanți.
• Lucrările pot fi live, înregistrate, spontane sau
bazate pe un scenariu.
Performance-ul lucrează cu 4 aspecte:
1.Timp
2.Spațiu
3.Corpul performerului
4.Relația dintre performer și public

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• Documentarea unui performance se face prin
video sau fotografie, prin instrucțiuni sau
prin forme juridice. 
 ORIGINI:DADA
• Deșii termeni performance sau performance art devin frecvente în anii 1970,
această formă de exprimare poate fi identificată în producțiile futuriste și în
cabaretul dada încă din 1910.
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The Greatest-Ever-Dada-Show",
Cabaret Voltaire, 1919.
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 ORIGINI:BAUHAUS
• Origini în Bauhaus.
• Școala Bauhaus, o școală de arte și design fondată de Walter Gropius in Weiman, Germania în 1919
• Ideea de a explora perfromance-ul într-o școală dedicată în mare parte arhitecturii și designului era strâns
legată de înțelegerea importanței spațiului. Astfel ei explorau relația dintre oameni și spațiul din jurul lor.
• https://www.widewalls.ch/magazine/bauhaus-school-performance-art
• Costume
Bauhaus
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 ORIGINI:DESIGN DOMESTIC
• La începtul anilor 1910  Lillian Gilbreth și Christine Frederick au început să publice studii
despre eficientizarea casei pentru a atinge o productivitate maximă a muncii domestice
pentru femei. 
• Se baza pe modalități prin care omul și corpul uman poate atinge o perfecțiune aproape
mecanică mergând pe ideea că acest tip de eficientizarea va îmbunătăți viața de zi cu zi.

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• De-a lungul secolului XX performanceul era privit ca o formă netradițională
de a face artă.  Mișcarea, acțiunea live și impermanența oferea artiștilor și
artistelor alternative la pictură și sculptură
• Se aliniază cu arta conceptuală datorită ideii de imaterialitate. ​
• Astăzi performanceul este o formă acceptată de artă și este utilizat pentru a
descrie film, video, fotografie și instalații prin care acțiunile artiștilor, a
performerilor sau a publicului sunt exprimate.
THE CASE FOR PERFORMANCE ART
• https://www.youtube.com/watch?v=EmMTKdUAokM
0. Corpul ca suprafață sau instrument pentru lucrarea artistică

Carolee Schneemann
Carolee
Schneemann
, Up to and
Including Her
Limits, 1973–
76,
performance
0. Corpul ca suprafață sau instrument pentru lucrarea sau statementul artistic

Ana Mendieta

Ana Mendieta
Untitled (Facial Hair Transplants) 1972
1. Când publicul interacționează cu artista în mod liber.

Yoko Ono
Yoko Ono,
Cut piece 1966

https://www.youtube.com/watch?v=lYJ3dPwa2tI
1. Când publicul interacționează cu artista în mod liber.

Marina Abramovic
Marina Abramovic,
Rhythm 0, 1974

https://www.youtube.com/watch?
v=xTBkbseXfOQ
2. Artista iși testează limitele propriului corp.

Marina Abramovic,
Rhythm 4, 1974
Stills from the film Art
Must Be Beautiful, Artist
Must Be Beautiful, 1975
3. Ritualul. Corpul artistei e implicat în mișcări repetitive pe o durată lungă de timp.

Marina Abramovic,
Balkan Baroque, 1997
 Marina Abramovic,
Balkan Baroque, 1997

MARINA ABRAMOVIĆ: When the war start in Bosnia, it was so difficult time for me. I was
not there. I was living since long time outside of the country. And I remember so many
artists immediately react and make the work and protests on the horrors of that war. And I
remember that I could not do anything. It was too close to me.

I went to Belgrade, and I interview my mother, my father, and a man who catch rats for 35
years of his life.

There is a few things happening in this installation. It's positioned so the hands of my
father, my father with a pistol, my mother first showing empty hands and then with
crossed hands on her eyes. And then it's me first as a doctor, telling the story of the rat-
catcher, and then as a sexy dancer, dancing to the Hungarian Czardas. And in the
meantime there's a huge pile of bones, which during the entire performance I'm sitting
and washing. It was summer in Venice, very, very hot and after a few days already worms
start coming out of the bones. And the smell was unbearable.

The whole idea that by washing bones and trying to scrub the blood, is impossible.You
can't wash the blood from your hands as you can't wash the shame from the war. But also
it was important to transcend it, that can be used, this image, for any war, anywhere in the
world. So to become from personal there can be universal.
3. Ritualul. Corpul artistei e implicat în mișcări repetitive pe o durată lungă de timp.

Marina Abramovic,
The House with the
Ocean View, 2002

https://vimeo.com/72468884
https://www.youtube.com/watch?v=5JvdsNpkMcU
Marina Abramovic,
The Artist is Present, 2010
4. Anduranța

Linda Montano
Tehching Hsieh, Linda
Montano, Art/Life One
Year Performance 1983 –
1984 
4. Anduranța- arta și viața de zi cu zi

Linda Montano, Seven

Years of Living Art ,
1984 
Raheleh Zomorodinia
This performance is reenactment of the Seven Years Living Art,1984-91, by Linda Montano,
which presented in The Site a Live exhibition, in Diego Rivera Gallery at San Francisco Art
Institute. Montano limited herself to wear one color based on chakra for the entire year for
seven years. I did the same performance only for a week. Because of the fact that seven is
an important and significant number in my religion, Islam. For instance, seven times around
the kaaba. While I was wearing one color every single day, which was a ritual for me, I
standstill inside the gallery during the exhibition as life art, then, I documented a second of
the performance and presented as a short video.This performance also references the
rainbow flag to combine and challenge the complexity between religion and freedom.
Hannah Wilke
 Hannah Wilke

Hannah Wilke S.O.S. – Starification Object Series (1974-82) Gelatin

silver prints with chewing gum sculptures, 40 x 58 1/2 x 2 1/4″ (101.6
x 148.6 x 5.7 cm) © 2019 Marsie
 Hannah Wilke

The problem Wilke faced in being taken seriously is that she was conventionally
beautiful and her beauty and self-absorbed narcissism distracted you from her
reversal of the voyeurism inherent in women as sex objects. In her photographs of
herself as a goddess, a living incarnation of great works of art or as a pin-up, she
wrested the means of production of the female image from male hands and put
them in her own.
 Hannah Wilke

In her 1987 essay, “The Dynamics of Desire: Sexuality and Gender in Pornography
and Performance,” Jill Dolan noted that, “Wilke and Carolee Schneemann , who
frequently performed nude, had beautiful bodies that implicitly legitimized their
exposure in the performance space according to the dominant culture’s standards.”
For Dolan, rather than subverting societal norms, Wilke’s nude performances were a
tool that upheld them, further adding to the stratification of women’s bodies and
the exclusion of those not deemed attractive enough. 
 Hannah Wilke

Intra-Venus Series No. 11, December 11,

1992,, 1991-1992
Hannah Wilke
S.O.S. Starification Object
Series, 1975
5. Performance delegat.
a.corpul ca un criteriu de frumusețe

Vanessa Beecroft
Vanessa Beecroft
VB16, 1996
5. Performance delegat.
a.corpul ca un criteriu de frumusețe

Vanessa Beecroft
VB55, 2005
5. Performance delegat.
a.corpul ca un criteriu de frumusețe

Vanessa Beecroft
VB01, 1993
4. Performance delegat.
a.corpul ca un criteriu de frumusețe

Vanessa Beecroft,
VB67_kor4, 2010-2011

https://www.youtube.com/watch?v=Y9U5px-z1ZQ
 Vanessa Beecroft
Performance delegat, moda ca artă, corpul ca un criteriu de frumusețe
Întâlnirea dintre privitor și model.

It's art; it's fashion. It's good; it's bad. It's sexist; it's not.
“Standing and Staring, Yet Aiming for Empowerment “
By ROBERTA SMITH Published: May 6, 1998”

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• https://www.youtube.com/watch?v=dGZT0FSFJl0
5. Performance delegat.
b. Studii intime despre mișcare, gesturi și limbaj corporal.

Anne Imhof
Anne Imhof
Faust,
2017

https://www.youtube.com/watch?v=TCF3buPU670&t=153s
5. Performance delegat.
b. Studii intime despre mișcare, gesturi și limbaj corporal.
Performerul ca un non-persoană

Anne Imhof
Angst
2016

https://www.youtube.com/watch?v=bjVGOLmWmRw
 Alexandra Pirici

Alexandra Pirici and Manuel Pelmuş

An Immaterial Retrospective of the Venice Biennale
1 June–24 November 2013
 Alexandra Pirici and Manuel Pelmuş
An Immaterial Retrospective of the Venice Biennale
1 June–24 November 2013

An Immaterial Retrospective of the Venice Biennale takes the entire history of the
Venice Biennale and reflects it in a national pavilion as in a fragment of a mirror. The
retrospective can be seen as an ephemeral monument to the biennale, a critique of
its Euro-centrism, vain display of power and luxury or of mere conservatism but also
a celebration of its openness for experiments, for the coexistence of virtually all the
trends, media, genres, that art uses or represents. Yet, it is also something more.

By turning the monumental into the immaterial and the object into action, by
enacting history, the project also transforms this history; it actualizes it. It is a
simultaneous affirmation and undoing, an attempt to archive which is at the same
time turned against the weight of the archive, of the storage, of the labels and keys
of reading that come with it. The work is appealing to the public’s memory only to
reveal its constructed nature and to question how memories are selected, who is
reminding us what and by which means.
Alexandra Pirici
Aggregate,
2017/2018
Performative
environment
Duration:4
hours
Alexandra Pirici
Co-Natural 2018
New Museum,
 Co-Natural 2018
New Museum,

Alexandra Pirici’s new work, Co-natural (2018), is an ongoing action with live performers
and a holographic image. The work considers the increasing fragmentation of presence
and self, enabled by digital technologies, financialization, and, more broadly, by
modernity’s division of nature from culture, body from mind or spirit, and individual
from collective. Co-natural attempts to enact a dispersion of bodily presence,
commenting on contemporary processes of abstraction that separate sign from
substance and image from material support. Yet the work also mines this fragmentation
for its potential to create a different idea of the self, one distributed across time, space,
bodies, history, and memory.
 Sun & Sea (Marina)

• Sun & Sea (Marina),  operă compusă de Lina Lapelytė, Vaiva Grainytė și
regizată de Rugilė Barzdžiukaitė,   prezentată la Bienala de la Veneția
într-un proiect curatoriat de Lucia Pietroiusti.
 Sun & Sea (Marina)

• https://vimeo.com/348919731
Despre performance
http://www.tate.org.uk/art/art-terms/p/performance-art
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Bauhaus și performance
https://www.widewalls.ch/magazine/bauhaus-school-performance-art 
http://www.uncubemagazine.com/blog/11697085 

Kitchen design
https://www.treehugger.com/why-do-kitchens-look-way-they-do-4854180

Marina Abramovic
http://www.theartstory.org/artist-abramovic-marina-artworks.htm
http://rahelehzomorodinia.com/performance/a-week-living-art/ 

Vanessa Beecroft
http://www.vanessabeecroft.com/frameset.html
http://www.vanessabeecroft.com/NewYorkTimes.pdf

Anne Imhof
http://moussemagazine.it/anne-imhof-faust-german-pavilion-venice-biennale-2017/
https://frieze.com/article/anne-imhof
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Hannah Wilkes
https://www.artsy.net/article/artsy-editorial-hannah-wilkes-naked-crusade-subvert-patriarchy
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Alexandra Pirici
https://www.e-flux.com/announcements/32685/alexandra-pirici-and-manuel
-pelmu/
https://www.newmuseum.org/exhibitions/view/alexandra-pirici
https://www.artbasel.com/cities/catalog/Alexandra-Pirici

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