Performance art in Western Europe and North America developed in part as a response to the commercialisation of the art object, as artists endeavoured to create works of art that could not be bought ...or sold. But what are the roots of performance art in Eastern Europe and Russia, where there was no real art market to speak of? While many artworks created in the ‘East’ may resemble Western performance art practices, their origins, as well as their meaning and significance, is decidedly different. By placing specific performances from Russia, Latvia and Poland from the late- and post-communist periods within a local and international context, this book pinpoints the nuances between performance art East and West. Performance art in Eastern Europe is examined for the first time as agent and chronicle of the transition from Soviet and satellite states to free-market democracies. Drawing upon previously unpublished sources and exclusive interviews with the artists themselves, Amy Bryzgel explores the actions of the period, from Miervaldis Polis's Bronze Man to Oleg Kulik's Russian Dog performances. Bryzgel demonstrates that in the late-1980s and early 1990s, performance art in Eastern Europe went beyond the modernist critique to express ideas outside the official discourse, shocking and empowering the citizenry, both effecting and mirroring the social changes taking place at the time. Performing the East opens the way to an urgent reassessment of the history, function and meaning of performance art practices in East-Central Europe.
After World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at ...the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century. Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions—the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez "ERRE." Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region.
Abstract
Date Presented 03/28/20
Performance art as an occupation for disabled artists was examined through a qualitative phenomenological design based in narrative inquiry. The research yielded ...three themes: (1) Belonging to a community of disability activists promotes feelings of empowerment for disabled performance artists. (2) The invisible is made visible through their craft; performance art is a means to express the inside out. (3) Space and place impact performance art. Two important subthemes will also be highlighted.
Primary Author and Speaker: Kristin Monical
Additional Authors and Speakers: Kate Wettergren
Contributing Authors: Lisa Mahaffey
Desi Divas: Activism in South Asian American Cultural Performancesis the product of five years of field research with progressive activists associated with the School for Indian Languages and ...Cultures (SILC), South Asian Americans Leading Together (SAALT), the feminist dance collective Post Natyam, and the grassroots feminist political organization South Asian Sisters. Christine L. Garlough explores how traditional cultural forms may be critically appropriated by marginalized groups and used as rhetorical tools to promote deliberation and debate, spur understanding and connection, broaden political engagement, and advance particular social identities. Within this framework she examines how these performance activists advocate a political commitment to both justice and care, to both deliberative discussion and deeper understanding. To consider how this might happen in diasporic performance contexts, Garlough weaves together two lines of thinking. One grows from feminist theory and draws upon a core literature concerning the ethics of care. The other comes from rhetoric, philosophy, and political science literature on recognition and acknowledgment. This dual approach is used to reflect upon South Asian American women's performances that address pressing social problems related to gender inequality, immigration rights, ethnic stereotyping, hate crimes, and religious violence.
Case study chapters address the relatively unknown history of South Asian American rhetorical performances from the early 1800s to the present. Avant-garde feminist performances by the Post Natyam dance collective appropriate women's folk practices and Hindu goddess figures make rhetorical claims about hate crimes against South Asian Americans after 9/11. InYoni ki Bat(a South Asian American version ofThe Vagina Monologues) a progressive performer transforms aspects of the Mahabharata narrative to address issues of sexual violence, such as incest and rape. Throughout the volume, Garlough argues that these performers rely on calls for acknowledgment that intertwine calls for justice and care. That is, they embed their testimony in traditional cultural forms to invite interest, reflection, and connection.
The award-winning play Venus vs Modernity unpacks the life of Saartjie Baartman, a South African woman of Khoi descent, who was exhibited as a freak show in nineteenth-century Europe under the name ..."Hottentot Venus." At the peak of her fame in the early 1800s, Saartjie Baartman became a reference point for abolitionists, fashion designers, and political satirists alike. Her remains were dissected and put on display at the French National Museum for 150 years. In 2002, Saartjie Baartman was finally returned to the land of her birth.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
I dealt with the problem of tagged research (transformations of art genres with the effectiveness of paradigm / performance art as a model), where the research problem was to ask the following ...question: What are the transformations of art genres with the effectiveness of paradigm / performance art as a model? While its importance and need for it are: It contributes to supplying the educational system with some information that may be a new addition in this field. It will contribute to clarifying and studying the transformations of the genres of art, where performance art is a model for it. While the aim of the research was to identify the transformations of the art genres with the effectiveness of the paradigm / performance art as a model, while the objective limits of the research were: the transformations of the art genres with the effectiveness of the paradigm / performance art as a model) As for the spatial boundaries: America, Europe and the Middle East. And temporal borders: 1960-2023.
The study of the tableau vivant raises issues on a number of levels — theatrical, narrative, spatial, pictorial, and temporal — and provides insight into questions of sexuality, gender, race, social ...class, and the relationship of the individual to the material world. The origin of this issue is the two-day conference Stay Still, Translate : Performance, Presentation, Conservation of the Tableau Vivant in Canada that was held in 2017 at the Musée d’art contemporain de Montréal. The symposium, which was organized by Mélanie Boucher and in which we both presented papers, and the present publication were opportunities to build on our work together for the special issue of the journal Espace entitled “Statue Play,” which focused on the immobility of the performing body in contemporary art.
How performance art in 1960s Japan formed a legacy of resistance against institutionalization
In Anarchy of the Body , art historian KuroDalaiJee sheds light on vital pieces of postwar Japanese ...avant-garde history by contextualizing the social, cultural, and political trajectories of artists across Japan in the 1960s. A culmination of years of research, Anarchy of the Body draws on an extensive breadth of source material to reveal how the practice of performance by individual artists and art groups during this period formed a legacy of resistance against institutionalization, both within the art world and more broadly in Japanese society. This book contains 256 high-quality reproductions, including rare performance photographs not readily accessible elsewhere, as well as a comprehensive chronology. KuroDalaiJee was awarded the 2010 Art Encouragement Prize for New Artists (criticism category) by the Minister of Education, Culture, Sports, Science and Technology.
Contributors: Kurokawa Noriyuki (editor), Jason M. Beckman (translation editor), Andrew Maerkle (translator), Shima Yumiko (translator), Alice Kiwako Ashiwa (editorial assistant), Daniel González (translator), Claire Tanaka (translator), Giles Murray (translator), Jenny Preston (translator)
Translated from the original Japanese edition published with T okyo: Grambooks, 2010.
In cooperation with Art Platform Japan / The Agency for Cultural Affairs, Government of Japan Art Platform Japan is an initiative by the Agency for Cultural Affairs, Government of Japan, to maintain the sustainable development of the contemporary art scene in Japan.
The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based ...conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close examination of the Collective Actions group’s ten-volume publication Journeys Outside the City and of the Dictionary of Moscow Conceptualism. He analyzes above all the evolution of Collective Actions through ten consecutive phases, discussing changes that occur in each new volume of the Journeys. Compares the part of the Journeys produced in the Soviet period with those volumes assembled after the dissolution of the USSR. The concept of “transition” and the activities of Soros Centers for Contemporary Art are also analyzed.
The context of our co-authored contribution to the ‘Aesthetic Relations’ conference-publication is a performance devised by Lucie in 2020 to which she invited Kiraṇ as a collaborator. Due to ...international travel restrictions however, our physical co-pres-ence in a studio and on stage remained suspended throughout that year. Our exchanges nevertheless continued in adaptive turns both before and after that performance. It is this condition of, at once, compromised yet consistent relation with each other that we refer to as ‘suspension’. For us this suspension was at first admittedly a source of disruption, even anxiety of interrupting our artistic flow. Yet there came a point during the year when this swelling tension ruptured, and a strange ease set in. Nothing had changed on the surface (travel restrictions were only extended), yet something had shifted under our skins. While still physically across continents, our online presentation at the conference was a joint essay at articulating, both textually and performatively, the unassuming complexity of this thing that is suspension. By the time of this publication in 2022, we have somewhat broken this suspension by physically meeting in Switzerland in August 2021. As such we have decided not to edit the text that was performed at the conference back in January 2021, and only append it with this contextual note.
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