This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe - the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe - since the 1960s. It demonstrates performance art, which encompasses a range of genres, among them body art, happenings, actions and performance. In exploring the manifestations and meanings of performance art, the book highlights the diversity of artistic practice, moments and ways in which performance emerged, and its relationship to each country's sociopolitical climate. The book discusses 21 countries and over 250 artists, exploring the manner in which performance art developed concurrently with the genre in the West. It examines how artists used their bodies in performance to navigate the degrees of state control over artistic production and cultivate personalised forms of individual integration and self-expression of body, gender, politics, identity, and institutional critique. A comparative analysis of examples of performance art addressing gender-related issues from across the socialist and post-socialist East is then presented. The themes addressed provide local cultural and historical references in works concerning beauty, women's sexuality and traditional notions of gender. Artists' efforts to cope with the communist environment, the period of transition and the complexities of life in the post-communist era are highlighted. Artists during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art.
will turn and walk fast directly away from them as soon as they start to approach the bank. Use your judgement. Keep an eye on them and take your chance to get away without being seen. Just act as if you’re getting exactly the same call as your partner. If they press their keypad, just pretend to press your keypad too. They don’t know a thing and they don’t need to know. (Blast Theory, 2011a ) City actants: urban furniture and performance art props The city actants include urban furniture and performance art props situated in urban space. While Blast Theory
4 Performing the border and queer rasquachismo in Guillermo Gómez-Peña’s performance art Where Gregory Scofield’s negotiation of the practice and habitus of citizenship in Canada is focused on the Métis, a group whose rights and identity have been debated and unjustly dismissed for centuries, this chapter recrosses the 49th parallel and returns to the border between the United States and Mexico, the site that features most prominently in work by Mexican- American and self- identifying Chicano performance artist and cultural theorist Guillermo Gómez- Peña
This article explores the reception and transformation of William Blake’s countercultural legacy by focusing on the neo-Romantic resurgences within maelstrÖm reEvolution, an experimental performance and arts collective based in Brussels but with heavy transnational affiliations. In relation to the company’s neo-shamanic and therapeutic conception of poiesis, Blake is an inspirational figure amongst a broader family of mentors ranging from Beat Generation writers to Arthur Rimbaud and Alexandro Jodorowsky. The Blake–maelstrÖm connection is here examined for the first time. Blending classical reception studies with a broader interest in the intersections between poiesis and the ‘sacred’, this article approaches countercultural Blake as the archetypal embodiment of the shamanic poet. More specifically, it reflects on how, as the poet of ‘double-edged madness’ and ‘Spiritual Strife’, Blake’s subversion of alienation into ecstasy feeds maelstrÖm’s own ‘therapoetic’ experimentalism and psycho-aesthetic endeavours to restore the lines of communication between the ‘visible’ and the ‘invisible’.
Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. This book recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.
The machinic city investigates the role of performance art to help us reflect on contemporary urban living, as human and machine agency become increasingly intermingled and digital media is overlaid onto the urban fabric. This is illustrated by several case studies on performance art interventions from artists such as Blast Theory, Rafael Lozano-Hemmer and Rimini Protokoll, which draw from a rich history of avant-garde art movements to create spaces for deliberation and reflection on urban life and to speculate on its future. As cities are increasingly controlled by autonomous processes mediated by technical machines, the performative potential of the aesthetic machine is analysed, as it assembles with media, Capitalist, human and urban machines. The aesthetic machine of performance art in urban space is analysed through its different – design, city and technology actants. This unveils the unpredictable nature and emerging potential of performance art as it unfolds in the machinic city, which consists of assemblages of efficient and not-so-efficient machines. The machinic city pays particular attention to participation, describing how digitally mediated performance art interventions in urban space foreground different modes of subjectivity emerging from human and machine hybrids. This highlights the importance of dissensus as a constitutive factor of urban life and as a means of countering machinist determinism in present and future conceptualisations of city life.
Celebrated as a leader of London’s ‘Underground’ in the 1960–70s, and a leading British poet and performance artist of his time, Jeff Nuttall found fame through his critique of post-nuclear culture, Bomb Culture, which provided an influential rationale for artistic practice through absurdism but lost that recognition a decade or so later. Less well recognised, and with greater influence, is the distinctively visceral sensibility underlying much of his creative work, notably his poetry that draws on Dylan Thomas and the Beat Movement, his graphic drawing and luscious painting styles, and his pioneering performance art. This article argues that it is through these artistic expressions of visceral intelligence that Jeff Nuttall’s art and its long-term influence can now best be understood. It is intended to complement the Jeff Nuttall Papers in the Special Collections of The John Rylands Research Institute and Library, University of Manchester, deposited by the gallerist and poetry publisher Robert Bank (1941–2015), to whose memory this article is dedicated. Further papers have been added by Nuttall’s friends and relatives.
This book presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.
Chantal Akerman was one of Europe's most acclaimed and prolific contemporary directors, who came to prominence with
Artists working in Central, Eastern and Southeastern Europe during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art or in the public sphere. In the post-communist period, artists continued to embrace the experimental nature of performance. They have likewise utilised performance art to articulate issues of concern, including those related to national and other forms of identity that have