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, Padua and Verona, 2004; A. Castronuovo, Avanguardia Balneare. Figure e vicende del Futurismo a Rimini, 2009; V. Cappelli, ed., Calabria futurista. 1909–1943, 2009; M. Gazzotti and A. Villari, eds, Futurismo dada. Da Marinetti a Tzara. Mantova e l’Europa nel segno dell’avanguardia, 2010; C. Giuliani, ed., Futurismi a Ravenna, 2010). Finally, studies linking historical Futurism with contemporary developments in art and design include: Futurism and sport (M. Mancin, ed., Futurism & Sport Design, 2006); Futurism, cinema and performance art (G. Davico Bonino, ed., Teatro
the potential to be a strategy of resistance against dominant paradigms of identity, particularly in relation to how performance art allows for a space in which queer Latina/o subcultures can resist the racism and homophobia implicit in hegemonic norms. As he puts it, ‘Disidentification is a strategy that resists a conception of power as being a fixed discourse. Disidentification negotiates strategies of resistance within the flux of discourse and power’.48 As a strategy of resistance, disidentification does not function as a counter-stance; that is, it is not a
academics and practitioners working in higher education were busy reconceptualising what was meant by acting and arguing for a more expansive approach to performance. Famously, for Richard Schechner ‘performance’ became a kind of umbrella term, covering not only ‘theatre, dance, music and performance art’, but also ‘a broad spectrum of activities including at the very least the performing arts, rituals, healing, sports, popular
cinema, the minimalist music of Philip Glass as well as New American performance art and dance. Canadian director Michael Snow’s La Région centrale (1971), one of the masterpieces of experimental film-making which she first saw at the Anthology Film Archives, the newly opened New York showcase for avant-garde cinema, had a decisive impact on the development of her film aesthetic. Mangolte recalls that she and Akerman
risky. An early curtain-raiser, a live show by Damon Albarn’s Gorillaz at which Bernstein looked on bemusedly, was followed by some truly challenging events, not just for audiences but for the authorities. One of its first headline shows was Il Tempo del Postino , an ensemble of performance art happenings which included a woman peeing onstage and a live bull being encouraged to mate with a motor car. David Ward in The Guardian said it was ‘stuffed with self-indulgent excess. But the show had to happen to make
international reputation for performance art, in large measure due to the respect garnered by Raša Todosijević, Zoran Popović, Neša Paripović, Gergelj Urkom, Abramović, and Era Milivojević, artists known as the Group of Six, who Blažević supported through her curatorial leadership. Other women leaders and organizers included Biljana Tomić and Bojana Pejić. Tomić had a history of organizing ephemeral and performative works at the Belgrade International Experimental Theater Festival (BITEF), a curatorial objective she later continued at the SKC. Experimentation and highly
performance art utilizing the female body expanded and critiqued precedents set in the 1950s by practices such as Jackson Pollock’s action painting, Yves Klein’s performances, and Alan Kaprow’s happenings (amongst others); literally and figuratively embodying new and powerful statements about female subjectivity and power within the context of modern art.9 Feminist artists interrogated the act of looking (male gaze), the gendered spaces (both literal and metaphoric) of contemporary life, and representations of the female body. Visual story-telling (creating new herstories
performance art struggling for its own identity, especially in the first years of sound film, and, for many theorists, the anti-cinema par excellence. ‘Pas d’épousailles du théâtre et du cinématographe’, wrote Robert Bresson in his journal of the 1950s, ‘sans extermination des deux’ 1 (Bresson 1975 : 21); but Bresson’s theatre is a pasteboard affair, an easy scapegoat for a frozen, actorly style of cinema
performance art and Latin American political life. In the blurring of the line between performance and performativity, as outlined above, Taylor states that in this socio-political context, we need to understand practices such as civic disobedience, resistance, citizenship, gender, ethnicity and sexual identity, as performance , observing how they are ‘rehearsed and carried out daily in the public sphere’ (Taylor 2015 : 35). To understand them as performance is to see and recognise how performance also acts as an
man is reflected in his use of Métis two-spirit vernaculars, and he shares these vernaculars with his readers, who, in reading his work, will learn more of the experiences of the Métis in Canada and elsewhere. Guillermo Gómez-Peña builds alternative civic communities and his performances work to create a more concrete, ‘real’ text, in collaboration with his readers and audiences. For Gómez-Peña, performance art holds within it a distinct and special potential to sow the seeds of social and political change, because of its immediacy. Erín Moure’s 178 Crossing