1998 : chronologie performance

Publié le par Olivier Lussac



- ALMEIDA Helena, Dentro de Mim, 1998.

- ARAHMAIANI, Art Festival’98, Nagano, Hiroshima, Tokyo, Japon.

- ARAHMAIANI, Burning Bodies. Burning Country, Musée de Castieva, Almaty, Kazakstan.

- ARAHMAIANI, Festival de Winternachten, The Hague, Pays-Bas.

- ARAHMAIANI, His-story, 2000-2002.

- ARAHMAIANI, Point Zero-My Mind Gets Stuck, Nippon International Performance.

- ARAHMAIANI, Show Me Your Heart, Nippon International Performance Art Festival, Asian Series, Nagano, Nagoya, Tokyo, Japon.

- ARAHMAIANI, Show Me Your Heart, JAXPA 98: Festival of Asian Performance Art I, Bangkok, Thailand.

- ARAHMAIANI, Show Me Your Heart, Cernara 6 Gallery, Jakarta, Jamzz, Jakarta.

- BANANA Anna, Bananas in Distress, presented at the 7 alld Festival of Performance Art in Toronto (Aug. 21-23) and broadcast nationally on CBC-TV’s popular program ‘On the Road Again’. 1998.

- BANANA Anna, Banana Communion Service, Sarenco Art Club, Verona, Italy (Dec. 6), 1998.

- BEECROFT Vanessa, VB 35, 1998.

- BOLIVER Rocio (aka La Congelada de Uva), El planeta de los pendejos, 1998, Mexico.

- CHANG Patty, Melon, 1998 (C-print)

- CHIARU Shiota, Try and Go Home, 1998.

- CUNNINGHAM Merce, Pond Way, 1998. (danse)

- DEIMLING BBB Johannes, Don’t Hurt Me (version 1), 1998-2000.

Public venues/Berlin, Germany/3-4 hour each.

Dressing in black, my head, my feet and my hands are all over covered with plaster stripes. I am sitting in various cafes around Berlin, reading newspapers and drinking tea. Photos : Nikolaus Atzl and Steffi Wurster.

- F.F.F.F. (Fun For Five Females), F-Files, 1998.

F.F.F.F. was a group of artists whose name stood for their programme of ‘‘Fun For Five Programs’’ as well as ‘‘femina’’ and ‘‘female’’. The members Kristi Paap (1973), Kaire Rannik (1971), Berit Tee¨a¨r (1970), Ketli Tiitsaar (1973) and Maria Valdma (1973) all studied jewellery design at the Art Academy in Tallina. As F.F.F.F., they worked with installations and photography, focusing on the themes of gender and identity in a social and political context. They took part in several exhibitions, including ‘‘Gender-Check’’ in Vienna in 2009. Today Paap, Rannik, Tiitsaar and Valdmar are jewellery designers in Estonia, while
Tee¨a¨r is a photographer in Belgium.

In this series of eleven photographs, the women artist take on different female and male roles, posing in front of the camera. They explore the question of women’s identity in society by acting out a typology of various models of feminity in the form of a masquerade. Each artist in the group of five women plays one role. Whether as a mother with her child or as women in the kitchen, brides, rock stars, flight attendants, prostitutes, soldiers, business women at the airport, domestic workers in historical costumes or whether they are shown rummaging in garbage cans or dressed in traditional Estonian outfits – the artists deconstruct the portrait as a genre in photography, painting and press photography. Each woman is always every woman.

- FOX Terry, Mystification of Moving Away, 1998, Stadtgalerie Saarbrucken.

- FOX Terry, Sympathetic Streams, 1998, Gesellschaft für Aktuelle Kunst, Bremen.

- FOX Terry & LOOSEN Marita, Zona, 1998, Galerie Metronom, Barcelona.

- GOMEZ-PENA Guillermo & SIFUENTES Roberto, Art Puteau-queering art border-, 1998.

- Granular Synthesis, POL, 1998, action/Théâtre, installation.

- HUAN Zhang, Foam, 1998.

- HUAN Zhang, Pilgrimage-Wind and Water, 1998.

- KOVYLINA Elena, Proections, 04-11-1998. Performance Saint-Petersbourg, Galerie Art-Collegy. Photo : Georgy Pervov.

- KOVYLINA Elena, The Exchange Rate of Rouble, 1-05-1998, Action Moscou, Kuznetkij Most Str.

- RASMUSSEN Lilibeth Cuenca, Family Sha La La, 1998. (Video)

I gathered with my family with the intention of teaching them this group dance. We practiced for 8 hours and eventually everybody almost got it. I learned the choreography in the Philippines from children who danced to ‘‘Cha la la’’ in the streets and private parties. We are brought up in certain patterns in a family structure, but we grow up as different inviduals.

- SMITH Michael, A Nite With Mike, 1998.

- TANIUCHI Tsuneko, Micro-événement n° 8/Action publique, 1998. photo: Eric Tabuchi.

Ici tout est réel, organisé par la revue Tribeca, Monoprix, Paris, 1998.

Je l’ai réalisé dans un Monoprix le samedi 12 septembre 1998, entre 18h et 19h, quand il y avait beaucoup de monde. Je suis entrée dans le Monoprix avec deux bébés en plastique dans la poussette et j’ai rempli le caddie de produits alimentairs et de produits pour bébé. Je simulais une maman japonaise. Il y avait des spectateurs qui savaient et suivaient mon action et il y avait des clients. J’ai essayé de faire un scandale à la caisse. J’ai crié qu’on avait soi-disant volé mon argent, ma carte, mon chéquier, etc. J’avais l’air paniqué. Une cliente derrière moi a commencé à crier contre moi. Le responsable du magasin était là. Contrairement à mes attentes, il n’a seulement regardé sans réaction. J’étais désespérée parce qu’il n’y a pas eu de scandale. Ce micro-événement est influencé par le film Les Idiots (1998) de Lars Von Trier, qui interroge les limites entre la liberté individuelle et les règles dans la société.

- TANIUCHI Tsuneko, Micro-Event No.20/How to Become a Good Housewife: ‘‘Here, There and Nowhere’’.

Quartier Éphémère, Montréal, 1998 and ‘‘What is Domestic Art 4?’’, Traffic Gallery, Ivry-sur-Seine, France, 2003.

I read an article in a English magazine entitled ‘‘Allen and Overy’’ about how to become a good housewife. it was an ironic and airy criticism of some of John Major’s slogans, ‘‘Back to Basics’’, ‘‘Family Values’’, which, according to the authors, were directly inspired by a secondary school educational publication from the 50’s. The authors quoted a series of blurbs taken from this book relative to domestic economy and absurd caricatured advice based on a superficial conception of conjugal know-how. I used this article as inspiration. I thus gave three lessons, like a professor: ‘‘Prepare Your Husband’s Dinner Ahead of Time’’, ‘‘Prepare Yourself for Him’’, ‘‘Prepare Your Children’’, etc. I mimicked the gestures et desirend effects of the lesson: ‘‘Good Housewife’’. This performance was video taped and presented during the exhibit.

- TELESE Emilia, Life of a Star, 1998.

Part of the Live Art weekend at Fabrica Gallery, Brighton, UK. Study of celebrity as the result of morbid attention from the public. A 1930’s movie star surrounded by five bodyguards describing meticously her every move, from the raising of an eyebrow to a detailed report of her fainting, and a tabloid journalist forever asking irrelevant questions to which she would not reply. Anguish, stress, sick glamour.

- VICUNA Cecilia, Cloud-Net, 1998. NYC.

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