Seven Burmese performance artists will face charges in a Mandalay court on Thursday after they allegedly broke an obscure law last week by performing in public with five foreigners who were subsequently deported. Click on title for link to article.
0 notes, May 31, 2012
“The artists were gathered at McKenzie Fine Art gallery in Chelsea on Saturday for Slow Art Day, an annual event during which art lovers visit local museums and galleries to look—slowly, deliberately, and thoughtfully—at pre-selected works, and then repair to lunch to discuss the experience.
Slow Art Day began in August 2009 with a single venue—the Museum of Modern Art here in New York—and just four participants. The concept was an instant hit; it expanded to 55 sites across the world in April 2010 and to 101 in 2012—this year’s selections ranged from a sculpture garden in Ohio to contemporary works in Poland, and from a food-related art tour of Manchester, England to photographs and video installations at the Tate Britain in London.”
The Slow Art Movement is certainly related to durational performance, which itself expects a certain length of attention. Keep practicing, people! Art is getting longer and slower as our ability to focus and the ways we are expected to focus get shorter and faster!
1 note, May 29, 2012
(Source: catherine-white)
Andres Bedoya “Ultra Madre” [Video]In 2009 Andres Bedoya organized a haunting performance installation “Ultra Madre,” in which 57 women lay still on the scaffolding of the main arch of the Museo Nacional de Arte in La Paz, Bolivia. For one hour the women did not move, their long, black hair cascading down the 15-foot structure. The jarring image of the soft hair against the rigid architecture stirred a quiet but lasting sense of unease.
Installation and Performance - mixed media, approx. 8’ w x 15’ h x 5’ d, National Museum of Art, La Paz, Bolivia, 2009.
Reblogged from devidsketchbook, 2,645 notes, May 27, 2012
Today I was officially invited to visit Terni Italy for the International Festival of Contemporary Arts in September. I’ll be researching the area to create a site-specific/responsive work as related to this year’s themes including: intergenerational relationships (my obsession about Gen Xers vs. Millennials finally pays off!) and reality vs. fiction. Need to raise that plane fare, but the sabbatical is starting out right! Here is the link to last year’s festival.
0 notes, May 24, 2012
This essay by Jeremy M. Barker critiques Abramovic’s Center for the Preservation of Performance Art, and uses that as an armature for a larger discussion of the necessarily different contexts of (but alarmingly divergent discourses around) performance art, contemporary performance, dance and relational aesthetics. I’m not in total agreement with the author, but it is one of the most interesting articles I’ve read in a while:
“Rather, it just strikes me as–again–a fantastic demonstration of the distance between discourses, at least in the US. We’re truly speaking different languages here, and just as the contemporary performance world could stand to engage more deeply with the visual arts discourse, the ongoing issues raised by performance art, which continues its trendy embrace by the art world (to say nothing of the re-contextualization of contemporary theater and dance within visual arts spaces), suggest the visual art world’s need for a deeper engagement with contemporary performance practices and their attendant theory and dramaturgy.”
“Through the event, these patterns, organizations, and interchanges are revealed; we come to focus on how choreography as a process can be a mechanism to analyze–and potentially reconfigure–the basic social interactions of our daily lives. It becomes unsurprising, from this perspective, that there is information on Occupy Wall Street and its radical democratic practices incorporated into the show as a display.
0 notes, May 24, 2012
In the sidebar > > > > > > , I added a permanent link to a recent artist lecture about my work in performance as part of STUDIO VISITS, a weekly visiting artist lecture/interview series in the Alfred University BFA Foundations program. I teach in the BA Interdisciplinary Art Major at the university, so I was technically “visiting” even if it was from just two buildings away. Please click on the “Artist Talk” page to see direct links to the Vimeo site, but here is the full 50-minute artist lecture, and below is the interview.
1 note, May 20, 2012
Post-Artist Lecture Interview. STUDIO VISITS, Alfred University, November 2011
0 notes, May 20, 2012
I was awarded a Lighton International Artists Exchange Program grant from the Kansas City Artists Coalition to visit my collaborator’s city of Bergen, Norway for several months! Longva+Carpenter have a long long list of plans!
Read about some of the grant plans on the LIAEP site.
First Terese is opening her solo show in that city: durational performance with glass sculpture. See the Longva+Carpenter news blog for more info!
0 notes, May 11, 2012
Is Marina Abramović Trying to Create a Performance Art Utopia?
“To me, when you die, you can’t leave anything physical — it doesn’t make any sense; but an idea can last for a long time,” she said. The embodiment of the idea, she explained, is the Marina Abramović Institute for the Preservation of Performance Art, which will function as a museum, archive, school and theater, and also as her legacy — all of which sound quite physical.
The institute will cover all different types of performing arts, including theater, dance, performance, music and video art, and not surprisingly, it will focus on Abramović’s MO: long-duration artworks, projects that could last anywhere from six hours to 365 days. “In the 40 years of my career, I’ve learn that only long-durational works of art have the potential change the viewer and the performer,” Abramović said. “Our life is more and more busy, so our art should be longer.”
Reblogged from hyperallergic, 37 notes, May 7, 2012
Going out on A Limb, Performance/Sculpture by Jason Ferguson
via:cosascool
What a strange time to be an artist…
In this time and place, what does it mean to be “transgressive?” What does “radical behavior” mean when the Tea Party lunatics are perceived as defenders of democracy and Glen Beck as a defender of free speech? When our most intelligent newscasters are comedians and Angelina Jolie is considered an activist? Remember the Bush era? What the hell is performance art, pregunto, when a theological cowboy runned the so-called “free world” as if he were directing a spaghetti western on the wrong set? And half a million civilians die during the shooting of the film? And we let him do it? What does radical performance art look like when the images from Abu Ghraib look like radical performance art? What is science fiction when creationism becomes official policy? When some US politicians are sincerely waiting for the rapture and believe that the UN is the anti-Christ? What the hell is performance when Conan the Barbarian became governor of California twice in a reality show called “California?”
Coño, I ask myself rhetorically, what else is there to “transgress?” Who can artists shock, challenge, enlighten? Who is listening? What else should I do or say tonight? Should I improvise more? Give birth to yet another performance persona on stage, “America’s most wanted inner demon?” Should I burn my bra or my green card at the steps of the Museum of Contemporary Art? Bear my soul at the altar of despair? Masturbate in the name of democracy and freedom? Curse Jehovah or Allah? Show up naked at the Alamo with my red stilettos and black cane? Auction my left testicle on eBay?
You tell me…kemosabe. Tonight I am your intellectual surrogate… Or rather, your house Mexican.
Can we start all over again? Can we? May I? Mearlos?" Guillermo Gómez Peña, Excerpt from “Philosophical Tantrum”, 2005(Source: dusttracksonaroad)
Reblogged from dusttracksonaroad, 66 notes, May 4, 2012
Legendary Australian performance artist Stelarc is known for going to extremes, from aggressive voluntary surgeries and robotic third arms to flesh-hook suspensions and prosthetics. For more than four decades, he has used his body as a canvas for art on the very edge of human experience: He once ingested a “stomach sculpture” that could have killed him…
The long sleeves of Stelarc’s black jacket conceal the notorious “Ear on Arm” project, in which a “biocompatible scaffold” was surgically inserted into his left forearm in 2006, creating the shape of an ear in an arduous ongoing process.
“At present it’s only a relief of an ear,” Stelarc said. “When the ear becomes a more 3-D structure we’ll reinsert the small microphone that connects to a wireless transmitter.” In any Wi-Fi hotspot, he said, it will become internet-enabled. “So if you’re in San Francisco and I’m in London, you’ll be able to listen in to what my ear is hearing, wherever you are and wherever I am.”
Photo: Jon Snyder/Wired
(Source: Wired)
