2011 : chronologie performance

Publié le par Olivier Lussac



- ALVAREZ Gustavo, Ruth, 2011.

- ARAHMAIANI, Breaking Words, Richmond Center for the Arts, Michigan.

- ARAHMAIANI, Crossing Point, Singapore Art Museum.

- ARJONA Maria José, Vires, 2011, Madre Museum Naples, ph. Lucia Dovere.

- ASHERY Oreet, Party for Freedom-Monkey Bum Factory, Le Transpalette. Centre d’art Contemporain, Bourges.

Monkey Bum Factory was made as a response to the text ‘Immune’ by Beatriz Preciado. The work was planned during a period of research for Party for Freedom and was set-up open call for participants to take part in a naked workshop leading to a performance. The workshop was part of a series of international workshops looking at the histories of Western performances of liberation, and in particular exploring nakedness, collective action and democratic sound. During the 30-minute duration of the piece, naked performers go through a series of repetitive actions and movements, some involving the audience, and produce a series of bum prints. The piece is engaged in biopolitics (this could mean bodies, citizenships, scapegoats, health, labour, legislation, migration, the every day), the Bum (dirty, erotic, octracised, gendered, classified, indeterminate, exclusive, democratic, stupid, knowledgeable, decorative) and the production of art, with references to body-painting actions by artists such as Yves Klein and Annie Sprinkle.

- ATLA Augusta, Objets de femmes, 2011.

A table is covered with a white sheet evidently prepared for a celebration. Around the table several women dressed in black begin to appear. Their black garments starkly contrast with the white of the embroidered fabric, the lace, the shawls covering the furniture and the chairs of the room. The women interact with the objets found on the table. They fold up the clothes, hang up fish using rope suspended from the ceiling on the room, remove seeds from a pomegranate on a wooden washboard, hold a doll in their hands. In a revisiting of the pictorial genre of still life, the tools and materials used in the performance are expressed again through the women’s movements and actions taking the gestures of daily life out of context. The traditional roles of women as the ones responsible for family care and home maintenance are critically examined as the representation of the female body breaks with its objectified role in the pictorial image. (Photo. Nikolas Branidis)

- BING Han, Cannot Find Enmity, 2011.

- BING Han, Love in the Age of Big Construction, 2011, Houston.

- BOLIVER Rocio (aka La Congelada de Uva), De pelos, 2011, Festival Panorama Armazem da utopia, Rio de Janeiro, Brésil.

- BOLIVER Rocio (aka La Congelada de Uva), Para dejar de pensar y accionar, 2011.

- BROWN Trisha Company, Sitcks, (1973) Performed at MoMa, 2011.

- CANONGE Hector, Clandestino,, 2011, NYC.

About: In observance of International Migrants Day, artist, Hector Canonge, invited the general public to symbolically occupy the world by joining him for presentation of Clandestino: World Migrant on Sunday, December 18th, 2011. The two-hour public intervention and performance art event took place around the UNISPHERE, the monumental steel structure, located in Flushing Meadows Corona Park in Queens, New York.

International Migrants Day was proclaimed by the United Nations General Assembly on December 4, 2000. Taking into account the large and increasing number of migrants in the world, The UN proclaimed December 18 as International Migrants Day. On 18 December 1990, the General Assembly has adopted the International Convention on the Protection of the Rights of All Migrant Workers and Members of Their Families. UN Member States and intergovernmental and non-governmental organizations are invited to observe International Migrants, and through the sharing of experiences and the design of actions to ensure their protection.

Description: Clandestino: World Migrant is Canonge’s latest public intervention/performance in a public park in New York City. It consists of using the perimeter of the Unisphere fountain as a platform for activism and reflection to evoke the displacement of peoples around the world. As the artist moves around the monumental structure, he created narratives on site, invited the public to write slogans, and read aloud with participants the Migrant Manifesto created by Immigrant Movement International. Canonge declared that his public performance ‘‘denounces recent immigration policies in the US and around the world. It denounces how people have been affected by ethnic profiling, detention, deportation and separation from loved ones.’’

Documentation: The following is a documentation of the 3 hour performance presented at the Unisphere Fountain in Flushing Meadows Corona Park, Queens-NYC, on Sunday, December 18, 2011. (photos)

- CANONGE Hector, Erasable, 2011, Miami Art Fair.


Performance art work references the disappearance of undocumented immigrant workers due to current laws adopted by the United States. The inhumane vanishing and separation of women, men, and children from their families, communities, is reflected in a barren landscape marked by traces of peoples, names, places, types of work, status, etc.


Erasable is a durational performance consisting of using the wall surface of a public space. The bilingual narrative is created on site and defaced as it is translated from Spanish into English. Word by word, the narrative  is translated on one side of the wall while its original is erased with the stroke of the brush. First narrative consists of naming people and places. Second narrative consists of listings jobs immigrants take and where they perform the work, and the third is about race, gender and the archetypes created to identify other people. The performance culminates by leaving traces of the narratives accentuated by the repetitive word immigrant.

(documentation of the performance presented at the opening of Fountain Art Fair on December 2, 2011)

- CANONGE Hector, Granada, 2011, Stage-Newark, New Jersey, Friday, October 22. Photo. Fernanda Hubeaut.


Granada is a performance as a ristualistic experience. Using the spanish word, for pomegranate, granada references the fruit’s origins in Iran and its significance and symbolism in Judeo-Muslin-Christian religions. On the one hand, granada, the fruit represents the fertility of a land, and on the other, a granade, the small explosive device used to kill people. The performance evokes and revolves around themes of American intervention in the Middle East, human mutilation in land mines, and religious conflicts in modern times.


The performance begins as the artist enters the space wearing a black ski mask, shirt and dhoti. In silence he lays down a black praying blanket and takes four pomegranates from a small bag. The pomegranates bear a small sticker with a barcode and the American flag. One by one he holds the round fruits in both hands, shows them to the audience, and puts them on the blanket. He proceeds to take a fifth pomgranate, opens it and starts to squeeze the arils (seeds) of the fruit directly into the public’s mouth. This action is followed by smashing the other fruits on the ground to collect their arils. He undresses and invites people to cover his body with a white powder while humming the The Star-Spangled Banner. Once he is corvered in white, he directs people to join him sing. He stops singing and starts to fall on the red seeds that are on the floor. End of the performance.

- CANONGE Hector, Hombre de pelo en pecho-hairy chested man, 2011, Photo Brian Mc Corkle.

- CANONGE Hector, The Kentauro’s Longing, 2011, Excerpt 2 {SØNiK}Fest 4 and Synthetic Zero May 2011.

- CANONGE Hector, Your Blue Eyes Melt My Bronze Soul, vendredi 14 octobre 2011, Grace Exhibition Space.


Interactive performance that pays homage to the maritime explorations of Christophe Columbus while reflecting on more than four hundred years of conquest colonization and assimilation of indigenous peoples in the Western Hemisphere. Based on the ancient Aztec legend of the return of Quetzalcoatl and on the writings of Bolivian writer and historian, Alcides Arguedas, the artist constructs a performative narrative that allows him to explore racial, social, religious, ethnic, and even amorous convergences.


The performance is divided in three segments: Voyage, Contact, and Submission. Each part invites the public to actively be engaged with the artist by repeating a short text, leaving a mark on his body, and accepting an offering. In Voyage, the body is used as a navigational tool while reciting the coundown of a timeline extracted from Columbus’ diary. Contact is established by having the audience slap, touch or hit the artist leaving a red mark on his semi-naked body. In Submission the artist washes his bloody figure while repeating in Quechua and Nahuati ‘‘motherland-blood-brother,’’ he procedes to bottle with his mouth the red water, and after having labeled the various jars with names of commodities original from the Americas, he offers them to the audience.

- CASSILS Heather, Cuts: A Traditional Sculpture, 2011.

- CHA Chuyia, Viscosity, 2011, Malamut Festival, Republique Tchèque.

- CHOPRA Nikhil, Broken White II, 2011.

- D’EMILIA Dani, 17th Bienal Cerveira, 2011, Portugal.

Part of 1st Period of Performances at 17th Bienal de Cerveira, Portugal, curated by Orlando Britto Jinorio (ES), 22-24 July 2011, Performance by Dani D’Emilia, Soundtrack by Mayron De Carvalho.

- D’EMILIA Dani, 17th Bienal Cerveira-Street Intervention, 2011, Portugal. Photos. Patick Esreves, Adriana Oliveira, Gilberto Coutinho.

- D’EMILIA Dani, Incorporo #4, 2011, ph. Angela Alegria.

- DE GRACIA Silvio, Walking With Duchamp, 2011, Athènes.

- DE GRACIA Silvio, Walking With Duchamp, 2011, Lisbonne.

- DE GRACIA Silvio, Walking With Duchamp, 2011, Thessalonique.

- DAF/COLLAZOS Diana, Los Reflejos de la Calle, 2011.

- DAF/COLLAZOS Diana, Objeto desatable exploracion con espejos, 2011.

- DEIMLING BBB Johannes & KEINER Ingolf, Teufelkreis, 2011.

Performance for video/with Ingolf Keiner/as part of the exhibition ‘‘ich bin keiner’’/Berlin, Germany, 2011.

- DEIMLING BBB Johannes, Comments, 2011, photography, ongoing project with Monika Sobczek.

- ECKARD David, A Simple Act of Maintenance, 2011.

- FEDHILA Moufida, Super-Tunisian-Performance St’art, 2011, Tunis.

- FRANK Regina, ILand-Public Performance, 2011. Venice Biennale.

- FREDERICK Helen C., Search Performance, Handing Over the Egg, 2011.

Performance with students at Hollins University, Roanoke, VA, spring 2011, the thing was the ‘‘things we fear in the dark’’.

- GALINDO Regina José, Alud, 2011, photo: Eleftheria Kalpenidou.

El agua corre. El cuerpo está alli, sucio. La posición pasiva del público como observador es reemplazada por la acción de participar y limpiar el cuerpo, motivados. quizás, por cierto empatia hacia ese individuo desconocido, escondido detrás del lodo.

(curadoria: Eirini Papakonstantinou)

(Thessaloniki Performance Festival, parallel programme of the 3rd Thessaloniki Biennale of Contemporary Art. Tesalónica, Grecia, 2011)

- GALINDO Regina José, Performance 19 sept. 2011, Thessalonique.

- GALINDO Regina José, Rabia, 2011, Guatemala.

Administration du vaccin contre la rage, par voie sous-cutanée.

(Cuerpo de Trabajo. (Ex) Centrico. CCE Guatemala, Guatemala, 2011)

- GEORGIOU Christina, Eternal Return, 2011, Biennale de Thessalonique.

- GOLUBOVIC Snezaná, 2011, Musées royaux des Bx-Arts de Belgique, Bruxelles.

- GRACIA Fausto, De-Genere, 2011, Guatemala.

- GRACIA Fausto, Experiencias de la carne, 2011, Lima, Pérou.

- GRACIA Fausto, Mi culpa Tu culpa, 2011, Mexique.

- GRACIA Fausto, Penitencia, 2011, Lima, Pérou, photo. Jose de Diego.

- HILLS-BONSZYK Summer Joy, At the Opening, 2011.

- HODGE Wayne, Negerkuss, 2011, Performance -Photo Kathrin Heller.

Negerkuss (Variation #1) a performance in which the artist, masked covers a bust of Cleopatra with black lipstick kisses. The bust is a replica of a sculpture found in Berlin’s Antiken Museum from ca. 35 B.C.E. The mask is a contemporary caricature of a so called ‘‘savage’’ and it has been cut apart by the artist, so that the mouth will be attached to the replica of Cleopatra, as the artists own mouth is exposed for interaction with the sculpture. This action examines the relationship between high and low culture and how the Black subject is polarized within this context. it also addresses the relationship between the location of the antiquity as a cultural idea/artifact and the real in the form of the Black artists body in an actual space.

- HODGE Wayne, Untitled, 2011.

- HUANG Rui, China I-Ching, 2011, Hong Kong, photo. Huang Rui.

- KAZUM Marya, They Were There, 2011.

- KYAMBI Miriam Syowia, Fracture, 2011-14, ph. Marko Kivioja.

- KNEBL Jakob Lena, Fettecke, 2011. (allusion au Coin de graisse de Joseph Beuys)

- KNOWLES Alison, The Identical Lunch, 1973.

Performed at The Museum of Modern Art, 2011, photo: Yi-Chun/The Museum of Modern Art.

- KOH Terence, Nothingtoodoo, 2011.

- KOVYLINA Elena, Merkabah, 17-09-2011.

Performance festival 9 Days, Parallel program of the Fourth Moscow Biennale, Solyanka State Gallery, Moscou. During her nine-day performance, the artist Elena Kovylina intends to test some of the practical techniques aimed at achieving immortality. Today the special methods used in ancient and modern studies, offering the achievement of aforementioned objectives, can be found in abundance in bookstores in sections such as ‘‘Mystery and the unknown’’, ‘‘Spiritual’’, ‘‘The path of one’s self’’, and so on. This is only an exercise of eye revival, but also the meditation of Merkabah, the exotic types of yoga, the Holotropic Breathwork, lucid dreaming, and much more. Even if the artist will not be able to disappear, having become a flash of light, like the Prophet Elijah, she will at least try to look beyond the physical dimension. Every day will be devoted to another practive. The public will be informed on the day of the performance.

- KOVYLINA Elena, Red Pomegranates, 11-01-2011. Exhibition statement: I advocate feminism-Kultur Kontakt Autria Wien.

As it happens with every notion scandalized in the mass media, feminism was torn to vulgar pieces, cliché and manifests instead of being deeply discussed and inderstood in the due time. Historically, if a talk of women springs up then men are its point of departure. And thinking about it, ordinary mind would picture an image of a man hater, the one of a woman who doesn’t have passion for men and is not willing to attract them. Another image (of a feminist) will be of inaccessable lady that  gives men odds and laughs at them while being sexually desired.

- LA POCHA NOSTRA, Corpo Illicito, 2011, Somarts, San Francisco.

La Pocha Nostra core members and associates perform in a multi-diorama installation of epic scale. Performed by Pocha members Guillermo Gomez-Pena, Michèle Ceballos Michot, Roberto Sifuentes, Erica Mott, Saul Garcia Lopez and Dani D’Emilia and Pocha Associates Guillermo Galindo, Natalie Nguyen, Jennifer Priego, EJ Hill, John Zibell. Photo: Bryan Hewitt.

- LA POCHA NOSTRA, La Pocha Nostra International Summer Institute, 2011 (July), Performance Art Institute (PAI), San Francisco.

Performance artists, dancers, physical actors, video artists and theorists from around the world meet to experience the Pocha Method and create political performance interventions in the streets of San Francisco, as well as a performance salon at the Performance Arts Institute (PAI).

- LA POCHA NOSTRA, La Pocha Nostra Workshop, 2011, Pays-Bas.

One week workshop with international artists and students from the Erasmus Mundus Programme MA Internationl Performance Research (MAIPR). Street interventions including Amsterdam’s red zone.

- LANDAU Sigalit, Mermaids (Erasing the Border of Azkelonj), 2011. (vidéo)

- LIU Beili, Performance, 2011.

- LUNA James & GÓMEZ-PENÃ Guillermo, La Nostalgia Remix, 2011.

Two extreme performance artists and shamans decide to become lounge entertainers and share their bizarre performance art with new audiences in an attempt to jumpstart a new religion for cultural outsiders. Master artists James Luna and Guillermo Gómez-Peña will challenge and inspire their audiences with an evening of performance art and commentary that turns poignant, hilarious, throught provoking and outrageous.

- MARHAUG Rita, Norwegian Liquid, 2011.

Grimsøy, Lofoten. August 2011. Photo. Emilie Marhaug.

(Rita Marhaug) : ‘‘The performance series Norwegian Liquid has developed over several years to encompass a number of elements it has met along the way. Black and white; visually and linguistically, an ultimate contrast. Skin; the interface between individual and world. Identity; central in my art production in a variety of contexts, and especially in my early works focusing on feminity and masculinity, children and adults.

Norwegian Liquid deals with the identity in tension between individual and nation. Our national and individual understanding often runs in contrast. The same can be said about reality and idea of nation, as well as of individual: Norway is presented as a country of pristine nature, while in fact we are the seventh largest oil exporter in the world. The individual is pulled between a tradionally moderate culture with roots in the rural, and a limitless, international, post-industrial infotainment society.

The black oil soaking through the figure’s white clothing is reminiscent of Puls. The scene however, is a very different one on a summer in 2011: One of the many beaches on Gimsøya in Lofoten, overlooking the Norwegian Sea and the Nordland VI, VII and Troms II; the battlefield between oil production and nature conservation.

The oil changes white to black, and eventually skin and sand turn black with oil. Corresponding to the blood volume of an adult, five litres of oil are soaked through, and then the figure moves backwards into the sea and is swallowed by the waves. The body is eventually washed up on the beach.

One year later and the strategy has changed, the situation has become both more realistic and surreal. My old enamel bath is placed on our boat landing, on the north side of Vestvågøy, bathed in sunshine on a July day in 2012. The bathtub is filled with a barrel of oil. The figure arrives on the little white beach and lowers herself into the black liquid filled bathtub. When she emerges from the bathtub she wades into the sea and swims.

The bathtub scenarion was recreated in the Bonington Gallery (Nottingham University) for the exhibition opening on 8th January 2013. With a large audience in attendance, the performance took on a very different context from six months earlier. This time, with the gallery’s physical presence and strong smell of the oil, the performance provided a variety of associations and interpretations that never came into play in Lofoten.

Although the English public is no stranger to oil political economy, there were more existential and/or abstract aspects of the work that came to light within the gallery walls. The relationships between the solid and the liquid, the oil and the body, the dry, fair skin and the wet, shiny oil, activated a restlessness of terms such as black-white and subject-object in the viewer.’’ (text: The Living In The Dead)

- MEHER Monali, Visiting Pearl, 2011, Guangzhou live Performance, Chine.

- MIAO Jiaxin, Garbage, 2011, NYC-Shanghai. ‘‘Fly the garbage, throw it away’’

- MIAO Jiaxin, Mom’s Suitcase, 2011, Rockbund Art Museum.

- MIAO Jiaxin, Performance, 2011.

- MIAO Jiaxin & LEE Heran, Tuition Laundering, 2011.

A collaboration with Heeran Lee.

In 2011, we washed 19,909 one dollar bills in a bathtub, hung them on clotheslines, flattened them on an iron board, handed them to the school office.

- NOGALES Paco, Golden Thread, 2011, Madrid.

- OWENS Clifford, Anthology (Glenn Ligon), 2011.

- OWENS Clifford, Anthology (Lorraine O’Grady), 2011. (vidéo)

- PAGEL Rainer, Protect the flame, 2011.

- PAGEL Rainer, Tied to riches, 2011, Guangzhu Live Performance, Chine.

- PUSSY RIOT, Osvobodi Bruschatku, 2011.

Pussy Riot is a Russian group of female artists that was founded for a performace in the Moscow metro station Otradnoye, where they played the song Osvobodi Bruschatku (Release the Cobblestones). A video of the action – the group stood on a scaffolding and subway cars, tearing feather pillows and showering feathers on the cars – was released on 7 November 2011, the anniversary of the October Revolution in 1917. Before that, in October 2011 two members of the group already propagated a new form of punk feminism and thus made the existence of Pussy Riot public for the first time, after they had originally only performed anonymously while wearing masks. In 2012, members of Pussy Riot were arrested due to an unauthorized performance in the Russian Orthodox Cathedral of Christ the Saviour in Moscow and were officially charged with hooliganism. The  following trial, the hunger strike of the defendants and the conditions of their imprisonment has been a subject of international debate.

Pussy Riot uses the strategy of ‘‘becoming a multitude’’ in a direct and explicitly political sense: they remain anonymous, only use nicknames, wear masks, perform publicly without announcing themselves, and their political lyrics criticize the government and President Putin as authoritarian and sexist. Their performance always include a direct appeal to take action against the government. Only described as punk band, the group explicitly refers to artistic traditions – for example, they regard the visual motif of the masked performer to be a consequence of Conceptual art, according to an interview from the beginning of 2012.

- ROLFE Nigel, Into the Mire, 2011, Royal College of Art.

- SAADEH Raeda, Trees of Wishes, 2011.

— Raeda Saadeh se pare d’une immense robe blanche de plusieurs mètres qu’elle déploie autour d’elle comme un derviche tourneur. grâce à l’intervention du public, la robe se couvre peu à peu de petits morceaux de tissus colorés sur lesquels le public écrit ses voeux, souhaits, aspirations. La blancheur immaculée s’éclabousse de fleurs colorées, la pureté virginale de l’artiste-vestale se charge, petit à petit, du poids de tout un peuple.

— Performance at a central square of the Birzeit University Campus with the participation of students, who wrote their wishes on small pieces of cloth, tied them and thrw them at the ‘tree’. There were 3000 wishes at all.

- SHAH Dimple B., Healing Perfumes, 2011, Inde.

- SHU Yang, Red Hand, 2011, Corée.

- SIERRA Santiago & WALTHER Franz Erhard, Démonstration du n° 46 extrait du premier ensemble de travaux de Walther (‘Sehkanal’, 1968), Haut plateau du Rhön, Allemagne, décembre 2011.

- SURYODARMO Melati, Almost There, 2011.

- SURYODARMO Melati, Conversation with Black, 2011.

A Conversation with Black is a performance work which is based on the idea of the psychology of geometrical aspect of objects. I am focusing on human being as an object of political and cultural strategies. The relationship between displacement as a fact and the shifting of political and cultural behavior are obvious throughout the history.

A Conversation with Black is an two-hours performance, using a specific room installation. The space is arranged to be a still-room, with black carpet on the floor and a rectangular cut of the carpet is attached at the wall. I slipped and hung behind the carpet hung on the wall.

Duration: 2 hours.

Performed at ‘‘Absence’’, Manila Contemporary, Manila, The Philipines, 2011.

‘‘Jogja Biennal XI’’, Jogjakarta National Museum, Jogjakarta, Indonesia, 2011.

- SURYODARMO Melati, Kein Spiel, 2011, photo: Evamaria Schaller.

Kein Spiel is a collaboration work where we both were searching for possibilities to encounters each other by inventing an improvisation and objects. We tried to develop our simplest point of view about space and object, to be in the space and to be as well the subject or object.

Duration 40 minutes.

Performed at ‘‘Performance Hautnah’’, Kunstlerforum Bonn, Germany, 2011.

- TANGO Hiromi, Hiromi Hotel-Mixed Blood, 2011.

- TANIUCHI Tsurneko, Micro-événements/Résistances quotidiennes, 22-30 oct. 2011

Frasq-rencontre de la performance #3, Le Générateur, Gentilly, France.

‘‘Puisque l’art de la performance est éphémère, je tente de réactualiser/réactiver plusieurs de mes micro-événements du passé à aujourd’hui, avec l’intention de pouvoir les transmettre au présent, ici et maintenant. Événement singulier et unique, c’est une sorte de rétrospective de mes ‘‘micro-événements/résistances quotidiennes’’, cette série de performances, qui se veut une interrogation sur les conditions de notre quotidien. Ici le ‘‘re-enactement/réactivation’’ ne sera pas nécessairement l’expérience objective de la reconstitution d’un fait historique, mais ce sera différent de l’expérience originale, du fait du lieu, du moment et du contexte des attentes d’un nouveau public. C’est pourquoi je considère que ‘‘Micro-événements/résistances quotidiennes’’ est une nouvelle création.

Partie 1 : Je réactive seule le Micro-événement n°5 pendant qu’un groupe de danseuses réactive le Micro-événement n° 32/Dancing alone.

Participantes : Antase Aude, Isabelle Boutrois, Lartitia Brighi, Agnès Butet, Katia Chesnier, Pauline Dumora, Amandine Etelage, Maude Marquet, Emilie Rvière, Agnieszka Ryskiewicz et Christine Zwingmann.

Partie 2 : Deux acteurs transmettent par récit les micro-événements. Participantes : Leslie Auguste et Thomas Moreno.

Partie 3 : Pendant 5 minutes et dans l’obscurité totale je projette un carré blanc sur le sol.’’

- TAUMOEPEAU Latai, I-Land X-Isle, 2011, Performance Space, Sydney, Australie. Photo Heidrun Lohr.

Explore the impact of climate change on island communities through this large-scale performance installation by Latai Taumoepeau. Large blocks of ice, suspended using traditional Tongan architectural lashing techniques for binding reference water torture and draw connections between melting ice glaciers and rising sea levels.

- TOLEDO Daniel & HUPE Ana, Veste nue, 2011, Rio de Janeiro. Brésil, photo. Julio Callado.

- WARSAW Noah, Black Market-Open situation, 2011, Venise.

- WEEKS & WHITFORD, 2011, Venice International Performance Art Week.

- WITTSTOCK Herma Auguste, Beer Mat Or Little Concert, 2011, galerie Bielska BWA, Bielsko-Biala, Pologne.

30 minutes/live performance

- WITTSTOCK Herma Auguste, Image of Krakow, 2011, Bunker Sztuki, Cracovie, Pologne.

30 minutes/live performance

- WITTSTOCK Herma Auguste, Image of Stuttgart, 2011, Kunstbezirk-Galeire Im Gustav-Siegle Haus, Stuttgart.

70 minutes/live performance

Photo/video: Andreas Dammertz

- WITTSTOCK Herma Auguste, Yellow Birth, 2011, ODA Gallery, Piotrkow Trybunalski, Pologne.

30 minutes/live performance. Photo/video: Jason Lim

- YASIN Wafaa, Allah, Alwatan, Almalik, 2011.

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