Index of Titles Filed Under 'Performance Art'

Fokus Grupa is an artist collective based in Rijeka, Croatia, founded by Iva Kovač and Elvis Krstulović in 2009. Borrowing their name from a contested research method, used equally for independent research as for PR purposes, they point to the social, economical and political frames of the art field. Their practice is collaborative and interdisciplinary, and it includes art, design and curating. Artistic strategies they use take political shape, without becoming a representational form of ‘political art’. Fokus Grupa concentrates on the relations between art and its public manifestations, in terms of working culture, aesthetics, and social and economic exchange values. Their work investigates ...
PublisherLisa Cooley2016
Active Ingredient brings together 22 artists working across a variety of media and disciplines to explore art’s tendency towards transformation, be it material, perceptual, or institutional. Taken from the language and practices of modern pharmacology, in which natural substances are decomposed to isolate useful properties that are then labeled and regulated once synthesized and mass-produced, Active Ingredient tests the conditions of artistic performativity, what it is that makes the work work. Insisting that spatial and institutional arrangements are at the heart of artistic meaning, artist and curator Alex Fleming takes his cue from Adrian Piper’s concept of catalysis, the insight ...
Fokus Grupa is an artist collective based in Rijeka, Croatia, founded in 2012. Borrowing their name from a contested research method, used equally for independant research as for PR purposes they point to the social, economical and political frames of the art eld. Their practice is collaborative and inter- disciplinary, and they work across art, design and curating. Fokus Grupa concentrate on the relations between art and its public manifestations, in terms of working culture, aesthetics, and social and economic exchange values. Their work investigates the inherent power structures of the art system. To this effect, they explore its economic, ...
PublisherDia Art Foundation2016
Franz Erhard Walther should be far more widely known in the US than he is. Since the late 1950’s, he has developed a language around the activation of fabric-based sculptures, using them not in “performances” but in what he calls “demonstrations”. When being demonstrated, his objects are in their “handlungsform”, their active situation, and when functioning as static sculpture they are in their “lagerform”, their storage situation. Here, Walther demonstrates the “reading” of an edition of his Grosses Prozess-Buch (Large Process-Book), made in 1969 in conjunction with his First Work Set, a suite of fifty-eight usable sculptures made between 1963 ...
PublisherThe Funambulist2014
In this conversation, we discuss about Gustavo Ciriaco’s choreographic work in order to address the politics of movement of the body – what we commonly call “dance” – in the public space. As a base for this discussion, we particularly talk about his piece, entitled “Here whilst we walk,” which consists in inviting a group of people to walk silently in a city while being surrounded by an elastic rubber band. On the contrary of other conversations part of the Latin American podcast series, we remain relatively non-specific for most of the conversation, before finally addressing the specificity of the ...
The journalist and dramaturg Andreja Kopač and the media art critic Ida Hiršenfelder here discuss the unique aesthetics and discursive strategies in the work of Neven Korda. In his career that spans three decades, Neven Korda has created a range of specific performative practices that emerge at the intersection of the textual, the visual and the musical. With his projects, Korda has been emphasising the importance of theatre both in its nature of communal space as well as in the appropriation of the performative that it allows. Every instalment or performance unravels and deepens his intentions, namely searching for the ...
After a historical recognition of electronic music and sound’s exploration performed in art galleries – i.e. not in the spaces traditionally dedicated to music – the architect and art curator Jurij Krpan describes Batista’s projects collected in the exhibition Temporary Objects and Hybrid Ambients 2008–2010. Batista – who is a tech-mixed-media artist, sound researcher, video experimentalist and AV performer – creates hardware environments that establish connections between digital and analogic, electronic and mechanic, visual and sound, audience and machines. He manages to change the perception of electronic as the realm of precision and perfection, showing its characteristics of unintelligibility and imprecision. Through ...
PublisherUntitled Radio2015
This program originally aired on WynwoodRadio.com, Tuesday, December 1, 2015 at 4:30pm EST, live from the Untitled art fair in Miami Beach. — Concurrently with Madeline Hollander’s performance, MILE, we will play the corresponding original musical tracks by $3.33 (Celia Hollander) on Untitled, radio. Each dancer is given their own track to follow. Madeline Hollander, MILE, Performance
This book was published on the occasion of THROUGH AND THROUGH AND THROUGH, an exhibition of new work by Gordon Hall, curated by Roya Amirsoleymani and Kristan Kennedy, com- missioned and presented by the Portland Institute for Contemporary Art in Portland, Oregon from June 8–August 10, 2019.
PublishersLink EditionsAksioma2014
Just what is it that leads many contemporary artists to restage historic events great and small, performances of the past, and sometimes even imaginary events? Are they possessed by the post-modern demon? (albeit belatedly…) Does this practice spring from a cynical awareness of the decline of values, the surrender—be it dismal or joyful, it makes little difference—to the logic of the society of spectacle? Is it yet another variation of Francis Fukuyama’s bitter prophecy of “the end of history”? Or is it simply the end of the modern myth of the “originality” of the work of art, a further confirmation of the ...
Emily and I discuss what makes a finished performance piece, what aspects of performance art can be problematic for a viewer, supporting yourself as an artist, and why she takes issue with the notion of absolute truth.
PublisherRadio Web Macba2016
Through her performances, Andrea Fraser (Billings, Montana, 1965) examines the social, economic, and emotional structures of the art world. She turns her critical, self-reflexive, and somewhat ironic gaze on different agents in the art field and analyses their roles, motivations, and contradictions. Fraser’s career has been linked to institutional critique from the outset, and her influences include psychoanalysis, feminism, and the theories of Pierre Bourdieu. Appropriation, site specific pieces, performance and body work are some of the strategies Fraser uses to expose the incongruities of the art world while also harnessing its full critical and political potential. SON[I]A talks to Andrea ...
The evening unfurled easily, mixing together long-time collaborators and strangers, farmers and urbanites, young and old. The tone was ceremonious, reflective, and unaffected. As the light changed, the attendees followed the artists’ presentations from a drawing exhibit in the hayloft to a performance of a short play in the greenhouse. One artist, with alluring music and poetry, led observers through the barn to the edge of the pasture. There was a song in the driveway, photocopied drawings handed out under the chestnut tree, and a frenetic movement piece involving almost all performers. And finally, a statement read by Hall. Backlit ...
PublisherThe Funambulist2014
The multiplicity of mediums used by Erin Manning to address the Spinozist question of “what can a body do” certainly influences this conversation and its “start from the middle,” a Deleuzian notion of which she is particularly fond. Through fashion design, literature, dance and philosophy, we repeatedly explores how little we know of the body. This ignorance is however balanced by our certitude that all design/politics that consider the body in a normative manner rather than in its singularity will indubitably hurt it rather than work with it. Erin Manning holds a University Research Chair in Relational Art and Philosophy in ...

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