2002 : chronologie performance

2002

 

- ALMEIDA Helena, Seduzir 2002.

- ALŸS Francis, When Faith Moves Mountains, 2002.

- ANTONI Janine, Touch, 2002 (vidéo).

- ARAHMAIANI, Money World, 2002.

Performance during the opening of the exhibition AWAS-Recent Art from Indonesia on 17 January 2002 in the yard of the Pruess & Ochs Gallery, Berlin.

- ARAHMAIANI, Visit to My World, Asian Finearts Gallery, Berlin.

- ASHERY Oreet, Colored Folks, 2002-2004.

‘‘Colored Folks’’ (2002-04) was a collaboration between Oreet Ashery and Shaheen Merali, based on the idea of Ashery becoming a black man, whilst Merali, a white woman. The process of regular discussions around identity and becoming, took place over a number of months. ‘‘Colored Folks’’ was first performed in Toynbee Hall, where Ashery and Merali where transformed in a room away from the audience over a number of hours by the make up artist and stylist, the late Brixton Bradley. A live feed was projecting the footage into a monitor in a second space where people where having drinks, socialising and watching the progress. A VJ was mixing live footage from the past few months process leading to the performance and from the performance itself, so sense of time got distorted. Offica Humana took polaroid images at every stage and brought them out to hang in the the social space. At the end, Brixton rolled Ashery and Merali out on chairs to face the audience and the limitation of make up. ‘‘Colored Folks’’ was performed at Artsadmin, Toynbee Hall, presented and included in workshops at the ICA, London; the video was shown at the NRLV, Glasgow, and the prints were shown at the Centre of Attention show, ‘‘A Man, A Woman, A Machine.’’

- BEECROFT Vanessa, VB 50, 2002.

- BERNDTSON Anna, Not Scared, 2002.

- BOLIVER Rocio, Rociador, 2002, Festival de performance, Valparaiso, Chili.

- BYRNES Theresa, Flag, New York, 2002.

Blind Patriotism resulting in blood for oil. Behind me Father Morales talks of giving last rights at ground zero. I lay on a raw canvas wearing a long red dress. Cover my face and eyes with white paint. I pour on blue and mix with my body. Finally I pour red paint from a motor oil container on myself. The red white and blue. Duration: 8 minutes.

- CHANG Hsia-Fei, Public, 2002. Paris.

- CHANG Hsia-Fei, Solo Valse, 2002.

For Solo Valse, Chang puts a rope around her neck as if to hang herself, but instead she begins a waltz. This performance exposes an aspect of the personal and private while retaining dramatic overtones. (Evelyne Jouanno)

- CHANG Patty, Contortion, 2002 (vidéo/performance).

- DEHLHOLM Kirsten, Jesus_c_odd_size, 2002. Nikolaj Copenhagen Contemporary Art Center. Danemark.

- DUAN Yingmei, Sleepwalker, 2002.

Yingmei Duan (1969, China, Germany) was a member of the East Village artist’s colony in Beijing and took part in their performance ‘‘To Add One Meter to an Anonymous Mountain’’ in 1995, which achieved international  fame. Duan moved to germany in 1998 and studied with Marina Abaramovic, Birgit Hein and Christoph Schlingensief at the Brauschweig University of Art. Her performances, which have been presented internationally at festivals and in exhibitions since 1993, often show her asleep or dreaming.

Video recording of a 10 minutes long performance: ‘‘As the audience comes in, I have already been lying in my starting position for some time. I am asleep on the floor in front of the stage. I wake up as if I were in a trance and slowly stand up. I then move towards the audience as if I were sleepwalking. Suddenly, I slap someone in the audience in the face. The, as if nothing had happened, I move on.’’ (Yingmei Duan)

- FACTORY OF FOUND CLOTHES. PERSHINA Natalia/EGOROVA Olga, Triumph of Fragility (Part Two of Trilogy), 2002.

In 1995, Gluklya (Natalia Pershina, 1969, Russia) and Tsaplya (Olga Egorova, 1968, Russia) founded the artist duo Factory of Found Clothes in St.Petersburg. The team of artists is known for its performances and fashion happenings. They use their works as a means to artistically transform social problems. ‘‘Art is on the side of the weak,’’ says their manifesto, and ‘‘artists are not mentors but friends.’’ Gluklya and Tsaplya are also coordinators of the group of artists Chto delat (What’s to be done?).

In this public performance, a troop of cadets marches in sync while holdings white dresses in front of them. This scene is an absurd reversal of the military drill.

- FERMIÈRES OBSÉDÉES, Camisole de Contention, 2002.

Folie Culture. Images vidéo: Jean-Évrard Bilodeau.

- FERRER Esther, Le Chemin se fait en marchant, 2002.

- FOX Terry, Shut Speech, 2002, Symposien zu Resonanzen, Stadtgalerie Saarbrücken.

- FOX Terry, The begging bowl, 2002, Symposion zu Resonanzen, Stadtgalerie Saarbrücken.

- FOX Terry, Voyelles, 2002, Galerie e/static, Turin, Italy.

- GALINDO Regina José, Lucha, 2002, Guatemala. Photo: Yasmin Hage.

Me enfrento a una luchadora profesional, sobre a ring.

(Colectiva Blanco y Negro. Guatemala, 2002)

- GALINDO Regina José, Sin Título (Hasta Ver), 2002, photo: Rosina Cazali.

Realizo un no viaje a Perú. Me censuro los ojos antes de salir, permanezco asi durante cinco dias hasta mi regreso a Guatemala, donde, al llegar, me descubro de nuevo los ojos.

(Tercera Bienal de Arte Contemporáneo de Lima, Perú, 2002)

- HE Chengyao, 99 Needles, 2002. 

- HE Chengyao, Illusion, 2002. 

‘‘Illusion’’ is a performance art piece I did in February 2002 at the Beijing Art Archives and Warehouse. The work was executed in this fashion: I invited a male audience member at the site to hold a mirror and use it to refract sunlight onto the background on a gray brick wall. I ran in front of the wall and chased the illusive patch of sun. The person grasping the mirror casually controlled all of my running, jumping, hiding, and movements of evasion. The performance lasted approximately ten minutes. After several times, each time the audience increased and after the role exchange, the audience became increasingly aware of the manipulator’s consciousness. Our body participates in  the specific field or territory, experiencing the correct and the desired connection. Moreover, attemps with such behavior also concerns the audience by traditional forms in the role to transform primarily passive modes, like writing, to the role of the creation of work.

- HUAN Zhang, My New York, 2002, Whitney Museum, NYC.

Something may appear ro be formidable, but I will question whether or not it truly is so powerful. Sometimes such things may be extremely fragile, like body builders who take drugs and push themselves beyond the limits of their training on a long term basis, until their heart cannot possibly bear such enormous stress. In this work I combine three symbols: migrant, workers, doves, and body building. I interpret my New York through concerns of identity, through the Buddhist tradition of setting live animals free (to accumulate grace), and through man’s animal nature and machinelike qualities.

A body builder will build up strength over the course of decades, becoming formidable in this way. I, however, become Mr. Olympic Body Builder overnight.

- HUAN Zhang, Seeds of Hamburg, 2002.

- HUAN Zhang, Sunrise, 2002.

- IRWIN Kathleen, The Weyburn Project, sept. 2002.

- JONAS Joan, Lines in the Sand, 2002.

Narrated by Jonas, Lines in the Sand is a deeply subjective meditation no less about the fate of self than of civilization. By chronologically and geographically transposing the story of H. D. and her alter ego,  Helen, on to present day Las Vegas, whose Luxor Hotel provides the perfect mise en scene, Jonas Subtly and not so subtly transcribes contemporary reality into myth. Picking up where H.D. left off, Jonas’ suggestion that a now liberated Helen has turned up in Vegas is perfectly in keeping with myth’s ability to blur the boundaries between fact and fiction. But despite its humorous aspect, the date of its production and its title, make Lines in the Sand somewhat conspicious with respect to any myth regarding war. Made in 2002, at a time when there was talk of a sequel to the first Gulf War, Jonas’ title cannot help but refer to the declaration of war President Bush the elder issued to Saddam Hussein for his invasion of Kuwait. Premiered at The Kitchen, NYC.

- KOVYLINA Elena, Madonna with Jewels, 09-09-2002, photo: G. Pervov, Moscou, Art Kijazma. 2003.

- KRISTUFEK Elke, I Speak Painting, 2002.

- LES FERMIERES OBSEDEES, Dépossession, Folie-culture. 2002.

- LES FERMIERES OBSEDEES, Incube, 2002. Arts d’attitude. Québec

- LES FERMIERES OBSEDEES, Méduse, Conférence des arts médiatiques, 2002. 

- LES FERMIERES OBSEDEES, Le défilé de camisoles de contention, 2002.

- MARTINEZ César, Como luego existo, existo luego como (eschatologie conceptuelle), 2002.

Esculturas con forma de excremento realizadas con chocolARTE, mazapanes, turrón y esencia de tequila que el público de la exposición degustó y saboreó durante la inauguración. Exposición : Metabolismo y comunication, Palau de la Virreina, febrero de 2002, Barcelona, Espanã. Esculturococinadas en la pasteleria Tragaluz. Fotografias de Antoni Abad.

- OKARIZ Itziar, Mear en espacios publicos o privados, 2002.

Itziar Okariz’s (1965, Spain) artistic work encompasses the fields of video, photography and installation. Her interests revolve around the construction of identity, subversion in the face of existing representation structures and body/space relationships, whether they are public or private. The immediacy and directions of her actions mark a constant dialogue with the locations where these are carried out. The repetition of the actions in different places and at different times is also an essential element in her work, creating nuances and differences within one basic element.

Itziar Okariz pees while standing, rolling up her skirt and spreading her legs. And she does this on streets, in hotels, on bridges and highways, on stairs in buildings, on cars and in the fountains of different cities. Her interventions are simple and direct: first, she appears at the place where she will carry out the action, then she slowly enters the picture and positions herself in the scene and immediately begins to make a present of her internal fluids to the city. Standing up straight and engrossed in the action, Okariz transcribes her identity into an ambivalent damp trace, producing an intimate writing in all the meanings of the term and taking over the spaces for a majestic organic moment.

- SIERRA Santiago, 2 joueurs de castagnettes, Galerie Enrique Guerrero, Mexico City, Mexique, janvier 2002.

Deux personnes aveugles, que l’on trouve habituellement à faire la manche dans le centre ville, furent engagées à effectuer leur travail dans la galerie. Bien que leur journée de travail soit habituellement plus longue, elles furent engagées à jouer quatre heures par jour pendant un mois. Finalement, la galerie les incita à ne jouer que lorsqu’un visiteur entrait. Six haut-parleurs amplifiaient leur musique.

- SIERRA Santiago, 3 cubes de 100 cm de côté déplacés de 700 cm, Kunsthalle Saint-Gall, Suisse, avril 2002.

Six réfugiés albanais, sans permis de travail, furent embauchés pour déplacer à la main trois cubes de ciment d’un mur à l’autre de l’espace d’art.

- SIERRA Santiago, 3000 Trous de 180 x 50 x 50 cm chacun, Dehesa de Montenmedio, Vejer de la Frontera (Cadix), Espagne, juillet 2002.

3000 trous ont été creusés sur un terrain faisant face aux côtes marocaines, selon les dimensions indiquées et avec leurs côtés parallèles et perpendiculaires. L’oeuvre a été réalisée par un groupe d’ouvrier journaliers, dont le nombre allait de vingt à sept selon les jours. Les ouvriers étaient africains, les plupart d’entre eux sénégalais, avec une minorité de marocains, et un contremaître espagnol. Le travail fut accompli à la pelle et dura un mois. Les ouvriers gagnèrent le salaire stipulé par l’administration espagnole pour les travailleurs journaliers 54 € pour huit heures de travail.

- SIERRA Santiago, 9 formes de 100 x 100 x 600 cm chacune, construites pour être portées à la perpendiculaire d’un mur, Deitch Projects, New york, juin 2002.

Neuf formes, faites de matériaux tels que du bois ou de l’asphalte, ont été soutenues sans attache par une structure de bois fixée au mur de la galerie à l’une de leurs extrêmités, et portées à l’autre extrêmité par un groupe de trois à quatre employés par oeuvre. Pendant deux semaines, ils se relayèrent pour cette tâche, touchant 12$ par heure. Nous avons eu recours aux services d’agences d’intérim locales pour trouver ces employés.

- SIERRA Santiago, Engagement et arrangement de 30 travailleurs en fonction de leur couleur de peau, Project Space, Kunsthalle de Vienne, Autriche, sept. 2002.

La Kunsthalle de Vienne a contacté trente travailleurs qui avaient été recommandés. Ils cherchaient des personnes de différentes couleurs de peau, allant de très claire à très foncée, afin de les disposer côte-à-côte. On demanda aux personnes contactées par téléphone d’où elles venaient. Leur couleur de peau fut ainsi déduite. Dès que l’on estima avoir réuni un nombre suffisant de personnes pour le spectre de nuances désirées, on contacta les participants simultanément. Les 27 première personnes qui vinrent furent placées le visage tourné vers le mur, en sous-vêtements. Les participants qui avaient le mélange de blanc et de couleur approprié se pointèrent une fois l’action terminée. Cela peut se voir dans le résultat où il manque les nuances intermédiaires.

- SURYODARMO Melati, The Promise Lupaus, 2002.

- TANIUCHI Tsuneko, Micro-Event No. 14/Future Bride Likes to Paint.‘‘Art & Vitrine’’, Rougier & Plé, Paris, 2002.

I placed myself in an artist supply shop window on which is written: Future Bride Likes to Paint. I played these for four 2-hour sessions. I was dressed in a wedding gown and I painted in real time with my palette and easel. This character is both comical and absurd, a pure comsumer good, a piece of merchandise offered in the smallest detail: the bride for sale. This performance has been taped on video. It was shown during the exhibit, instead of the ‘‘Future Bride’’ at the shop window.

- TANIUCHI Tsuneko, Micro-événement n° 18/Marianne Tsuneko/Tsuneko Marianne, 2002.

Profession de foi artistique, chez Window, Paris, 2002; 3/8 Lacaserne à l’Espace Beaurepaire, Espace Beaurepaire, Paris, 2002.

J’étais dans la vitrine de ‘‘Window’’, habillée d’un T-shirt blanc sur lequel était écrit ‘‘Marianne’’, au recto, et Tsuneko, au verso. Au lieu du bonnet phrygien, je portais une perruque rouge et j’avais mis des bottes bleues.

Sur le mur, derrière moi était accroché le drapeau français. Et je dansais sur la ‘‘Marseillaise’’. Dans la rue, il y avait des passants et le public de l’exposition Profession de foi artistique qui avait eu lieu pendant la période des élections présidentielles, avant le 27 avril 2002.

- TELESE Emilia, Gesture 1, 2002.

- TROPICANA Carmelita, Single Wet Female, 2002.

Marga Gomez and Carmelita Tropicana Video still from’Single Wet Female’. Written with Marga Gomez, directed by David Schweizer. Play with video. Premiered at Performance Space 122 in NYC in 2002. Photo credit: Todd Phillips. Cast: Marga Gomez, Carmelita Tropicana, Murray Hill. ‘Single Wet Female’ combines film-noir satire with goofball socio-sexual performance. It is a spoof of the film cult classic ‘Single White Female.’ Marga Gomez plays Margaret, a high femme Caucasian in a blonde wig, and Carmelita is Cammy, the uber butch who awakens her desire for plantains and merengue. The play includes video with drag king Murray Hill in the role of the boyfriend.

- WOLFFER Lorena, Mientras dormiamos (las mujeres de Juarez), 2002, photo: Martin L. Vargas.

- ŽANIC Vlasta, Maraschino Cherries, 2002.

Performance Zadar live, Zadar, 2002. Photo: Stipe Surać.

In her performance, Vlasta Žanic questions stereotypical female role of being wife and mother, the responsible within the family for providing emotional and physical nourishment. The cherry cake is, in this case, symbol of comfort and family protection, while the artist’s body becomes the object of the symbolic inscription of traces of wounding. Covering her body with dough and planting cherries inside it, the artist expresses the entire force of the weight that this role entails, as well as the weight of suppressing and sacrificing her own personality in a family community, which apparently exists by default.