1996 : chronologie performance

1996

 

- AGUILAR Laura, The Body: Depression, 1996. (action-vidéo).

- ALBARRACIN Pilar, VIH, 1996. (performance: photo documentation)

- ARAHMAIANI, Do Not Prevent the Fertility of the Mind, 1996.

Installation and performance, Sanitary napkins, medial equipment, stool, vial of blood.

- ARAHMAIANI, Handle without Care I, Brisbane, Australie.

- ARAHMAIANI, Handle without Care II-You Love Me, You Love Me Not, Z Gallery, Soho, NYC.

- ARAHMAIANI, Handle without Care III, Maga City, Bangkok, Thailand.

- ARAHMAIANI, Nation For Sale, 1996.

Installation and performance at the 2nd Asia-Pacific Triennal, Brisbane, Australia. Boxes, photographs, toy guns, military toys, soil, water, medicine.

- ARAHMAIANI, Offerings from A to Z, 1996.

— In her artistic works, Arahmaiani Feisal (born in Java) questions the contradictions and paradoxes of her country through performances, installations, drawings, poetry, dance, and music, as well as most recently through participative projects developed together with social and religious communities. Her performances amount to protects against social injustice, violence, political corruption, and the woman’s position in Muslin society. Arahmaiani, who openly expresses her Muslin faith, advocates as an artist an Islam that is open and tolerant, fighting to eradicate the violent ans military-like interpretations of it in the Western world caused by radical Islamic groups.

Installation and performance in a buddhist crematorium in Chiangmai, Tailand. Here, as the following piece blood symbolizes violence and is at the same time, an ambivalent metaphor for fertility and the discrimination of women, who during their period are considered to be impure and lose their right of access to Holy grounds.

— Offerings from A-Z is made-up pf a series of performances taking place at a Buddhist temple in Chiangmai, Thailand, and questions the growing problem of prostitution in Asia. In the second performance of the series, the artist’s body is lying on a stone, distributing pages from pornographic magazines to the audience. These pages are set on fire as a type of ritual offering, thus establishing an unsetting connection between the religious and the profane, between tradition and the social reality. Later, Arahmaiani lies on the floor covering herself with white sheets stained with blood. Lining both sides, there are offering plates and two rows of weapons. The blood represents violence and, at the same time, is a metaphor for the duality that Asian women face: praised and respected for their fertility and, yet, discrimined against for their menstruation by being prohibited access to the temples and holy sites.

- ATHEY Ron, Suicide Obsession Tattoo Dream, 1996.

- BEECROFT Vanessa, VB16, 1996 (see re-enact. 2009 FOX).

- CABELLO/CARCELLER, Bollos, 1996.

The artistic team of Cabello/Carceller (1963, France/1964, Spain) was constituted in the 1990s. The duo focuses their visual research on the questioning of hegemonic and one-way modes of visual representation. The construction mechanisms of masculine and feminine identity and the exposure of stereotypical social behaviour are dealt with in their work from different perspectives and through a multidisciplinary artistic practice, which includes video, photography, installation, drawing and writing.

The camera records the action of the artists, seated in front of spectators in a position that is both challenging and calm, slowly eating two cream puffs. The word ‘bollo’ is used in Spain to refer negatively to lesbians, but it is also the generic word for sweet pastries. The artists are literally eating the pastries, thus chewing and transforming language.

- CABELLO/CARCELLER, Un Beso, 1996. (vidéo)

A heated discussion between two artists, the subject of which is irrelevant, acts as a soundtrack to a close-up of a long kiss – Un Beso. During the action, the faces seem to fight to occupy the centre of the screen while escaping our gaze. The video is a kind of game, in which a fiction is established with elements of reality, and a reality is created with elements of fiction, provoking a paradoxical ambiguity. The spectator is faced with pleasant visual information and an unusually aggeressive sound track.

- CHRISTIANSEN Henning, Lagerplatz-Beuys Pit-75 Jahre-Walhalla, 1996 (fluxus)

- EMIN Tracy, Exorcism of the Last Painting 1 Ever Made, 1996 (Stockholm).

- FOX Terry, MT, 1996, Pfalzgalerie Kaiserslautern.

- FRANK Regina, Glass Bead Game, 1996, Summer Olympic Game, Atlanta.

- FRANKO B., Mama, I Can’t Sing, 1996. Institute of Contemporary Art. Londres.

- GILCHRIST Bruce & BRADLEY Jonathan, Divided by Resistance, 1996. Londres.

- HUAN Zhang, Cage, 1996.

- HUBAUT Joël, Action Epidemik-Clom, 1996, Ferme du Buisson.

- HUBAUT Joël, Red-Clom, 1996, Place rouge, Deauville.

- KOZYRA Katarzyna, Olimpia, 1996.

After studying at the Warsaw Academy of Fine Arts, Katarzyna Kozyra (1963, Poland, Italy, Germany) decided she no longer wanted to make sculptures and began working with photography, video, performances and installations instead. In 1999, she was honored with a special award when she represented Poland at the 47th Venice Biennale. She received a grant from DAAD in 2003, which she used study to become a makeup artist and opera singer.

In Olimpia (Olympia), Katarzyna Kozyra, who was diagnosed with cancer in 1992, presents herself as a ‘chemotherapy Manet painting.’ After her work Piramida Zwierzat (Animal Pyramid) from 1993 caused a scandal, she started turning her private life into a public stage. The video is accompanied by a photo installation.

- KRYSTUFEK Elke, Satisfaction, 1996. Kunsthalle. Vienne.

- LIMA Laura, Marra 1996. photo. Eduardo Eckenfels.

- MARTINEZ César, The North America Fat Free Trade Agrement, 1996, ICA-Institute Contemporary Arts, Londres.

Temporada de performance latino, ‘‘Corpus Delecti, Sex, Food & Body Politics’’. Curaduria de Coco Fusco.

- MORI Mariko, The Shaman-Girl’s Prayer, 1996 (vidéo).

- ORTA Lucy, The Unit, 1996. Fondation Cartier. Paris.

- OSTOJIC Tanja, Personal Space. 1996.

Performance Biennale des jeunes artistes, Vrsac, Yougoslavie. (photo: Sasa Gajin). Personal Space photoseries 1995 (photo: Sasa Gajin) Tanja Ostojic. Videostills, 60’/Beta video.

- RAKAUSKAITE Egle, In Honey, 1996 (performance et installation vidéo). Islande.

- RAKAUSKAITE Egle, Trap. Expulsion from Paradise, 1996.

Egle Rakauskaite (1967, Lithuania) is one of the leading artists in Lithuania. She trained as a painter but later turned to objects made of organic materials, like honey, hair and chocolate. She then began exploring (documentary) video and performance. She represented Lithuania at the 48th Venice Bienniale (1999) and has taken part in numerous important international exhibitions.

Twelve young women are standing in a circle with their backs to each other, wearing long white dresses. Their primly parted hair is woven into long braids, binding them together in a tight net. After standing still for several minutes, they cut themselves loose and leave the stage. The representational patterns of women as obedient and innocent, which are bound to patriarchal culture’s image construction and women’s false desire for their own estrangement, are dissolved through the personal act of cutting. Trap was a success at numerous locations, such as Gender Check. Feminity and Masculinity in Eastern European Art at the MUMOK in Vienna (2009-2010).

- SACRED NAKED NATURE GIRLS, Power play from Untitled flesh, 1996.

- SANTAMARIA TORRES Elvira, Ultimas Noticias, 1996, Bylow, Pologne.