- ABDUL Lida, Public Ritual, 2005 (vidéo)
- ABDUL Lida, White House, 2005.
- ALBUQUERQUE Beatriz, I, 2005, video-performance, 8’ lopp, color, no sound, Chicago/Oporto, Portugal.
This video-performance explores the repetition of the same movement used by a male homosexual pin-up.
- ALMEIDA Helena, I am here, 2005.
Video documentation of a performance in Kabul, Afghanistan.
- ARAHMAIANI, Intonne Festival, Autriche.
- ARAHMAIANI, It’s Me. 2005.
- ARAHMAIANI, Learning to Swing, Valentine Willy Gallery, Kuala Lumpur.
- ARAHMAIANI, We Are Not Hungry, Ambulance Int. Performance Art Festival, Jakarta.
- ARAI Shin-Ichi, Happy Japan, 2005, Chengdu, Chine (Japon).
- ASHERY Oreet, Returning Interaction, 2005-2007.
Returning Interaction is part of the ongoing project ‘‘Welcome Home’’ (www. welcomehome.org.uk). Participants are asked to choose a blindfold and draw their teenage bedroom in a large sketchbook. The blindfolds have the word ‘‘returning’’ on them in different languages according to the location of the interaction. After the drawing is done, and the blindfold removed, they are asked to write a sentence about it. The books slowly fill up. In most cases participants are positively surprised by the ‘blind’ drawing. The displaced lines in the drawings show gaps in memory, time and space. The stories around the drawings speak generally of family relations, immigration, rite of passage and related social and cultural backdrops. (Public/site-specific)
- BEECROFT Vanessa, vb55, 2005. Berlin.
- BING Han, A Dream Between Cotton and Stone, 2005.
- BOLIVER Rocio (aka La Congelada de Uva), Tripas de gato Tupada, 2005, 2nd Action art event, Manille, Philippine.
- CANG Ying, Red-Blue-56, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- CHAGNON Johanne, The Last of the Animals, 2005, Chengdu, Chine (Canada).
- CHEN Xi, Communication Barrier, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- CHEN Xi, Untitled, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- CHENG Jin, Untitled, 2005, Chengdu, Chine (1)
- CHENG Jin, Untitled, 2005, Chengdu, Chine (2)
- COBLE Mary, Untitled 3 (from Note to Self), 2005.
‘Note to Self’ was a twelve hour performance where the named of 438 gay, lesbian, bi and transgender individuals who were murdered due to hate crimes, were tattooed onto the artist’s body using no ink.
- CRUZ Mideo M., Untouchable, 2005.
- DAI Na, Perspective, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- DE GRACIA Silvio, Estrategias contra el yo, 2005, Montevideo, Uruguay.
- DIAZ Maria Adela, Borderline, 2005.
Maria Adela Diaz was born in Guatemala in 1973. She currently lives and works in Los Angeles, California. Her art expresses the essence and sublimity of women. She aims to seduce nature within an everyday context and attempts to transform the observer into a part of her own work. Through different media, such as intallations, video-performance, Maria Adela Diaz uses her body as the medium to convey her objections to political deception, patriarchal societies and discriminating philosophies.
Video performance. Duration: 3:34 min. I seated myself in a wooden box and navigated into the ocean for 45 minutes. This performance denounce the migratory policies in the United States and the precarious situation of the migrants without papers, and which can be read like a cathartic ritual of the wounds of my own exile where I locked myself up in a container lauched to the sea.
– (retranscription, consultée le 8/1/2014 : http://elles.centrepompidou.fr/blog/?p=235) …La performance a connu un renouveau à la fin des années 1990 au Guatemala, c’est-à-dire à la fin de la guerre civile. Des artistes femmes se sont alors appropriées la performance, ainsi que la vidéo, afin d’interroger la situation politique du Guatemala dans une optique féministe (Sandra Monterroso, Regina José Galindo, Maria Adela Diaz). Maria Adela Diaz revient dans un entretien sur Borderline, une vidéo issue d’une performance à haut risque : elle est en effet enfermée dans une caisse en bois à la dérive sur la mer. Maria Adela Diaz est née au Guatemala mais vit et travaille aujourd’hui aux États-Unis. Elle utilise son propre corps dans ses performances, installations ou encore vidéos pour questionner les discriminations liées aux origines ethniques et au sexe. Son travail s’inspire notamment de son expérience d’immigrante sans-papiers aux États-Unis. Maria Adela Diaz travaille également comme graphiste, et réalise des illustrations dans ses nombreux carnets de croquis.
« Can you us more about Borderline?
Borderline is a video performance, where I submitted myself in a wooden box that navigated into the ocean for about 45 minutes until it reached land.
Borderline talks about the immigration situation in the United States. This performance, denounced the migratory policies that immigrants go through when they submit themselves to cross the border in the US.
I specially named this piece Borderline to talk about the unstable territory you are in when you are an immigrant in a country like the US. Borderline deals with discrimination, disruption and instability in a very sublime way but all elements that I used in this piece reflect the emotion and feeling of being in a country that constantly diminishes the minority, taking them to reach their own limits.
How does this piece reflect your own experience?
Borderline is the result of my own experience as an immigrant in the USA. The year 2005 was a very crucial moment to define my legal status in the US. I took the risk to loose my life when I made this piece. And I also put myself in the spot to get caught by the law force of the US and get deported to my country. I think I wanted that to happen. My personal story is the story of thousands of immigrants. It might not be exactly the same, but in Borderline I am representing the unspoken men and women that feel trap in a situation like this.
The price that people have to pay to live in the US is very high. To live in an unstable land is intolerable anywhere. The human rights doesn’t really work in your favour.
What is the political background for artists in Guatemala?
I think political issues are embedded in every Guatemalan Citizen. As an artist I just like take small bites of what political means to me and to others, although my work doesn’t only talk about politics I do recognized the political issues that my family and I experienced on a daily day basis.
You work as an artist and a graphic designer, using a vast array of medium, from illustration to photography. What are the dynamics between these practices?
As an artist I recognized myself as a storyteller. I am constantly creating images in my head, either for a ‘‘commercial’’ client or for my artwork.
Graphic Design gives me the opportunity to be involve in the world. To research is a very important exercise. it gives me material to work and know more about what happens around me, it makes me feel grounded. My illustration work is a mental exercise that keeps me happy and moving. I have a journal and about 5 little other notebooks that I fill with drawings. I do enjoy doing that but it is not commercial as what I do with web design and Graphic Design. My artwork represents the duality between my subconscious and the cruel reality.
Your work was included in the Global Feminisms exhibition’s catalogue and is often associated with art made by women. What is your relationship to feminism?
I don’t recognize myself as a feminist although I have exhibited my work in some particular feminist exhibitions. I don’t really understand all the statements of feminists but I respect it. I think I do feminine work which is work made by a woman. I talk about my gender my position as a woman at this moment in history. In my work, I talk about the different facets of being a woman, a mother, a lover, a victim, an artist, and so forth.
The use of your own body seems central in most of your pieces…
I use my body as the canvas where I expose the work. My body is the vehicle to transport a big load of my own life experience; touching the limits is the way I get intimate with my own body and the work. I am interested in pushing myself to those limits. To find out that there is more to push is like touching the untouchable. It connects me to my own self and perhaps with others. Each performance empties my body to be filled up later with what I want to say. »
- DIAZ Maria Adela, Conexion Umbilical/Umbilical Connection, 2005.
Video Performance. Duration: 1 hour. Mother and I sewing a dress with the same cord and with our eyes covered. Los Angeles, California, 2005, photo: Todd Berrien.
A mother and daughter bond will always be present with or without a life line, such as an umbilical cord, to connect them. The bond cannot be easily broken, even with distance, illness or indifferences.
- DIAZ Maria Adela, La Carga, 2005. Californie. Photo. Miguel Morales. (performance-vidéo)
Video: single-channel digital video. Duration: 3min. Photos: Digital C-prints, 16’’x20’’. Californie. 2005. Photo: Miguel Morales.
Carrying my daughter in my arms walking through a difficult trails and hills. In this piece, I try to express my conviction that a mother is inevitably bound to fulfilling her role as a mother and taking care of a defenseless being that needs her. This piece speaks about the difficulties I have to go through as a single event parent. It also portrays women as strong and able to overcome any obstacle and discover unprecedented strength within themselves because of their children.
- DIAZ Maria Adela, Territorio Invisible/Invisible Territory, 2005.
Video performance, Video: Single-channel digital video. Duration: 2.24 min. Photo: Digital C-prints 11’’x14’’, California, 2005. Photo: Evasofia Leon. As a woman in a foreign country, I struggle with the need to make an identity. By painting my body the same colors as the walls in my house, I become invisible and part of house foundation.
- DOUJAK Ines, Dirty Old Women, 2005. Salzburger Kunstverein. (photo: Rainer Iglar & Herman Seidl)
In her photography, collages, installations and performances, Ines Doujak (1959, Austria) explores social constructions, such as stereotypes, gender roles, colonialism and racism. During her first solo exhibition at the Wiener Secession in 2002, she also participated in the Vienna ‘Regenbogenparade’, the equivalent of Christopher Street Day, with a specially designed float. Doujak uses visual language, which she understands as the dominant force in the creation of normative assumptions, to formulate her questioning of prevailing media images.
Dirty Old Women is a series of projects in 2004-2005 that reflect on the visibility and experience of older women in today’s society. Based on the consciousness raising groups of the 1970s, Ines Doujak held seminars for groups of women in Barcelona, Vienna and Salzburg, where she also developed images of young people, the elderly, love and sexuality, which were distributed as posters in public spaces. Based on this research, Doujak then staged a live fashion show on a monumental catwalk at Kunstverein Salzburg, creating multilayered, provocative costumes together with the models, who were aged 55-68.
- DU Qiuye, 1+1+1, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- FOX Terry, Lecture, 2005, Auditorium der JFK, Bremen.
- FOX Terry, Performance Project ‘‘The Long Breath/Der Lange Atem’’, 2005, Maschinenhaus, Essen.
- FU Yu, Big Family-Fire, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- GALINDO Regina José, Perra. 2005, Prometeo Gallery d’Ida Pisani, Milan, Italie.
In her performance career spanning more than ten years, Regina José Galindo (1974, Guatemala) refers to a wide range of violent experiences by inflicting violence on her own body. She sees her work as a personal catharsis that is closely connected to the violence in her country and also as pointing to the fight against political crimes, social hierarchies, segregation and the opression of women. The viewer’s empathy for the artist’s sufferinf physical pain is also turned into an awareness of the protest’s political subtext. Works in which her own body comes into contact with her own or someone else’s blood (‘‘The Weight of Blood’’, 2004, ‘‘Abluction’’, 2007) particularly remind us of performantive works by the Cuban artist Ana Mendieta from the 1970s. Her first performances take place in Guatemala in 1999. ‘‘Who can Erase the Traces’’ (2003) is a statement against the candidacy of the former dictator José Efrain Rios Montt. In this performance she dipped her feet in blood and walked to the National Palace.
The artist sits in a bare room, carving the word ‘perra’ (slut) with a knife into her thigh. With this performance, Galindo expresses her protest against the ongoing violence against women in her country.
— Escribo la palabra PERRA con un cuchillo sobre mi pierna derecha. Una denuncia de los sucesos cometidos contra mujeres en Guatemala, donde han aparecido cuerpos torturados y con inscripciones hechas con cuchillo o navaja.
(Prometeo Gallery di Ida Pisani, Milano, Italia, 2005)
- GALINDO Regina José, Picacebollas, 2005, Fuego de Lugar, San Cristobál, República Dominicana.
Performance oloro. Pico 2 costales de cebollas en un restaurante popular.
- GALINDO Regina José, Recorte por la línea, 2005, photos : Alejandra Herrera.
Performance realizado con la participación de uno de los más cotizados cirujanos plásticos de Venezuela, Dr. Billi Spence, en el cual marcó sobre mi cuerpo todas las áreas que deberían ser intervenidas para llegar a tener el cuerpo perfecto, según los códigos estéticos manejados por nuestra sociedad.
(Primer Festival de Arte Corporal. Caracas, Venezuela. 2005)
- GALINDO Regina José, Vertigo, III Bienal de Tirana, Tirana, Albanie, 2005.
Mi cuerpo como péndulo, orina, mientras permanece colgado con un cable, a varios metros de altura.
- GALINDO Regina José, Zopilote, Ave Nacional, 2005.
Proyecto realizado para la película Amorfo Te Busqué de Mario Rosales.
Desplumo un zopilote, quitándole a una todas las plumas hasta dejarlo complemente desnudo. (Guatemala, 2005)
- GILMORE Kate, Cake Walk, 2005.
The performance videos by the New York-based artist Kate Gilmore (1975, USA) are scenes of a perpetual fight between the artist and the problems and absurd difficulties she creates for herself. The static camera in reminiscent of early slapstick movies. In putting herself in extreme physical situations, she evokes the performance art of Abramovic, Acconci and others, to which she adds the elements of an absurd and dark sense of humour. With funny, the obsessive endeavours of the protagonist, who is usually dressed in clichéd feminine outfits, also make us squirm because they are turned into paintful and grotesque symbols of the tiresome feats of everyday life in a world that is hungry for success and recognition.
Cake Walk shows the artist as she relentlessly attempts to climb a high wooden ramp leaning against a wall while wearing roller skates. The goal of her Sisyphus task is to reach a cake placed on top of the ramp. In the end, the artist’s attemps are rewarded with success.
- GOLUBOVIC Snezaná, Conversation 1, 2005.
- GREGORIE Paul, The Bear and the Warus 3,2,1,0, 2005, Chengdu. Chine (Canada).
- HAO Lei, Taoist Priest and Leaves supplement each other, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- HE Liping, Becoming a Butterfly, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- HE Liping, Different Ways Lead to the Same Ending, 2005, Chengdu, Chine.
- HU Geping, Water Writing, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- HU Xing, Birth From the Fish, 2005, Chengdu, Chine.
- HU Xing, Hourglass, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- HUAN Zhang, My Boston, 2005.
- HUAN Zhang, My Rome, 2005.
- HUAN Zhang, My Switzerland, 2005, Berne.
- HUBAUT Joël, Performance, 2005, Université de Caen.
- INGRIDROBERTMWANGIHUTTER, Headskin, 2005.
After working and living together for a long time, Ingrid Mwangi and Robert Hutter (1975, Kenya, 1964, Germany) began signing their works together as a unit in 2005. Conceptually, their individual personalities dissolve into a miniature collective, in which the gender and origin of each is transferred to the other. Their works explore the role of skin colour and cultural origins, something also shaped by Mwangi’s experience of moving from Africa to germany as a teenager. Mwangi studied with Ulrike Rosenbach at the Hochschule Bildende Künste in Saar, where Hutter also studied and still teaches today.
In this video performance, we see a split screen with the backs of two heads with short hair – one of a black woman and one of a white man. The two heads are slowly shaved, beginning with different patterns until both are finally completely bald. This duble image refers, on the one hand, to the connotations of different hair styles from a gender and cultural point of view. On the other hand, these differences become nullified: from behind, all ‘faceless’ shaved heads look alike, regarless of gender, origin, skin colour and social status. The video thus reflects the self-awareness of the artistic duo, who see themselves as a unit striving to overcome the separation of different artistic personalities.
- JIA Qianlan, Complement and Eliminate Each Other, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- JIA Qianlan, Returning, 2005, Chengdu, Chine.
- KHANH Bui Cong, Dollar Man, 2005.
- KNOWLES Lorna. Alter(ego), 2005.
- KOH Terence, 1000 Years of Bunny Solitudes, 2005, Berlin.
- KOHOUT Milan, Hang It, 2005, Chengdu, Chine (USA).
- KOVYLINA Elena, Boxing, 24-09-2005, (photo: Wladimir Salnikov and Mikhail Mutaev), XL Project Moscow.
In Boxing, a performance executed in Moscow in 2005, I play the role of agressor and victim in one, when callin out people from public to spar with me in the ring.
- KOVYLINA Elena, Waltz at Miami, 1-12-2005.
Gallery Schroeder Romea/NYC in Miami Beach, Ice Palace Film Studios, NADA Art Fair, Miami Beach.
Waltz was conceived in 2001 and has been performed in germany and subsequentlly in several European cities. The artist subverts the prevalent cliché of the ‘‘Russian woman’’ whose body became one of the main sources of revenues in the new capitalist economy of the 1990s. She also subtly comments on a forced ‘‘reconciliation’’ between Russia and the West, the former absolute war enemies and ideological adversaries. Choosing members of the Western audience to dance, the artist reverses the prevalent aesthetics of failure, empowering herself and symbolically activating what has been repressed. (photo : Sonia Leimer)
- KOZYRA Katarzyna, Appearance as Lou Salome, 2005.
- LOCKE Jennifer, Choke, 2005.
- LA POCHA NOSTRA, Projecto Tucuman-Chicano. A soldier guards a Human Altar, 2005 Tucuman. Argentine.
- LANDAU Sigalit, Standing on a Watermelon in the Dead Sea, 2005. Video, 5’21’’.
A female body struggles to balance and remain vertical on top of a watermelon a few meters lower than the lowest place on earth, in the salt saturated waters of the Dead Sea. The under-water of the Dead Sea has never been filmed or seen. under these fiery waters, the small round planet/plant – the watermelon –, gravitates upwards, to overthrow me and bounce to the surface. All is buoyant and apt to float horizontally involving considerable arm movement. Like a bird flapping her wings… height above.
- LEE Lenny, It’s Only Ketchup, 2005, 3rd Dadao Live art Festival, Pékin, Chine (UK).
- LI Mengyuan & XIANG Xishi, Untitled, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- LI Haijun, Soul, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- LI Yan, Blind Chess, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- LI Yan, Deer, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- LIANG Tao, Abortion Politics, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- LIU Chengyin, Replace, 2005, Chengdu, Chine.
- LIU Wei, Lighter than a goose feather, 2005.
- LIU Xiangjie, Mortgage of One Square Meter, 2005, Chengdu, Chine.
- MACLENNAN Alistair, Conférence-démonstration, 2005.
- MARHAUG Rita, Inner Dialogue With IKB, 2005, photo: Emilie Marhaug.
Performance for camera made into video. First showed at Vestlandsutstillingen 2006 (2005)
- MARTINEZ César, Neuroeconomia Antropófoga 2.0, 2005, Puerto Alegre, Brasil.
V Bienal Mercosul, Puerto Alegre, Brasil, 2005.
Esculturas humanas de chocolARTE comestible, con castanãs, nueces, mazapanes, esencia de tequila y pimienta. Escultococinadas en Gramados, en la fábrica de chocolates Lugano. Octubre de 2005.
- MONGKOL Plienbangchan, The Suffering Tea, 2005, 3rd Dadao Live art Festival, Pékin, Chine (Thailand).
- NEMEC Vernita, Paper Doll. E. AKA n’Cognita, 2005.
- NEMEC Vernita, Transformation Daze, E. AKA n’Cognita, 2005.
This solo Transformation Daze was commissioned for an exhibition in Darmstadt, Germany, in their world famous gardens. Translating the theme of gardens into a Butoh performance, I am a caterpillar that becomes a butterfly, whicj morphs into a snake ? Layers of costume are removed as I finally morph into a snake that eats the apple in the Garden of Eden. In this image, I am still a caterpillar. The next time I hope to perform this piece with these costumes on a shore washed up with trash from our polluted waters… a 21st Century garden…
- NOVOTNI-JONES Mari, Wilderness, 2005, Chine.
- PAISAN Plienbangchan, Reason why, 2005, 3rd Dadao Live art Festival, Pékin, Chine (Thailand)
- PAIVI Maunu, 6th Sense, 2005, 3rd Dadao Live art Festival Pékin, Chine (Finland).
- PEÑA Jillian, Compromise, 2005.
Jillian Peña (USA) is a dance and video artist primarily concerned with the confusion and desire between self and other. Her work is in dialogue with psychoanalysis, queer therory, pop media, and spirituality. She studied dance in Ronoake, studio art in Chicago and is a PhD candidate at Goldsmiths University of London.
Compromise is a collection of conversations the artist has with herself. She talks directly to the camera while replicas of herself can be seen doing things in the background, such as rolling in a dance-like manner on a bed, singing a song or taking part in sexual activities. This film analyses representation and how we share our lives with others.
- QI Yang, The East Is Red, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- QIULIN Chen, Untitled 1, 2005.
- RASMUSSEN Lilibeth Cuenca, EgoSong, 2005-2006.
In EgoSong the artist herself poses in a sun suit, a singing metaphor for the egotism and self-absorption that appears to take on an ever more prominent position as religion and driving force within the western world. An ironic social commentary, which also points to the paradox that egoism, depends on external validation. Live performance. Refrain. Call it a Freudian slip So wonderful to be on an ego trip Affection is stimulation of my soul. and pleasing my Ego is my goal I do worship the flavor of grace I subsist on attention and praise How to handle responsability When selfishness is the utility.
- RENTERIA Martin, Plot of Empty Spaces Without Limit of Time, 2005, Chengdu Chine (Mexique).
- ROSSA Boryana D. SZ-ZS performance, 2005.
Is it possible to represent the ‘real, symbolic and imaginary’ (according to Lacan) on one gesture? How can we ‘depict’ the real? In this performance I stitch up myself with a surgical thread to my mirror image.
- SAEMANN Andrea, Saemann Meets Schneemann, 2005.
Andrea Saemann (1962, Switzerland) studied architecture in Zurich and art in hamburg under Marina Abramovic. She currently lives in Basel, where she is an artist and independant curator. She has coordinated, among other things, Kaskadenkondensador, a space for contemporary art, performance and music. Since 2007, she and Katrin Grögel have put together Performance Saga, a video interview project and performance art festival. Her works often take the form of re-performances dealing with the pioneers of feminist performance art. These performances typically begin as dry lectures, which spark the audience’s interest while inspiring more and more laughter.
— In this 45-minute performance, Andrea Seamann talks about her encounter with Carolee Schneemann when they met for an interview and about her fascination for her work as an artist. She tells anecdotes about Schneemann’s love life and life as an artist, to the growing amusement of her audience. She thereby portrays the attitudes of a younger generation, which sometimes has difficulties understanding the actions of pioneers of feminist art. Saemann’s re-enactement of Schneemann’s Interior Scroll and her dry and humoristic narration is a close as anyone can get to an iconic performance.
- SEIBOLD Stefanie, I am not half the man I used to be, 2005.
Stefanie Seibold (1967, Germany, Austria) works with performances, videos, collages, sounds and video installations. Her interest lies primarily in gestures and signs that constitute sexual and gender identity. In her works, she often engages in the recontextualisation of (historical) images, texts and quotes. Seibold also teaches at the department of Performative Art – Sculpture at the Academy of Fine Arts Vienna and has published ‘‘Performance Art in Vienna since 1960’’ in collaborative with Carola Dertnig.
Standing in front of a camera with a megaphone in her hand and dressed in black with eyes highlighted in a glittery green, Tara Casey, the performer, takes apart and repeats passages from a text on feminist film theory from Mary Ann Doane entitled ‘‘The Desire to Desire: The Woman’s Film of the 1940s.’’ Her face is illuminated in blue, green, and red in intervals lasting several minutes. Accompanying the recitations are fragments of songs that move the performer to dance and produce a relaxed reading of theory, which, at the same time, becomes more and more distanced through the constant repetition of words and sentences. A text by Julia Kristeva is projected onto Tara Casey’s body as she shows the audience several cards that display the words, which are from the song ‘‘Yesterday’’ by the Beatles, and presented in a queer context now, make fun of the gender constructions of pop culture from a feminist and lesbian point of view.
- SHAO Yanxin, Obituary Notice of Performance Art, 2005, Chengdu, Chine.
- SHU Yang, Geographic Discovery, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- SIERRA Santiago, Le Couloir de la Maison du Peuple, Maison du Peuple, Bucarest, Roumanie, oct. 2005.
Un couloir obscur long de 240 mètres, large de 120 centimètres et haut de 2 mètres avait été construit dans le bâtiment abritant aujourd’hui le Musée d’art contemporain, dans une partie précédemment réservée aux pièces personnelles du dictateur N. Ceausescu (1918-1989). Le couloir traverse les trois étages du bâtiment affectés aux expositions, mais il les croise de la manière la plus courte : allant de l’entrée aux escaliers, puis jusqu’à la sortie. 396 femmes furent convoquées pour remplir cet espace pendant deux heures au milieu de la nuit du 14 de ce mois. Postées le long des deux murs du couloir, les femmes devaient répéter la phrase ‘Donnez-moi de l’argent’, mot à mot et en roumain. Pour ce travail, chaque femme reçut 20 leis, soit environ 6 euros. Elles avaient également le droit de garder l’argent gagné en faisant la manche. L’accès des visiteurs se faisait un par un, en passant par un détecteur d’armes placé à l’entrée du bâtiment. Le détecteur, le programme et la pluie abondante qui n’avait pas été prévue, rendirent l’action très pénible pour les visiteurs et les travailleurs.
- SIERRA Santiago, Une personne, Galleria Civica di Arte Contemporanea, Trente, Italie, oct. 2005.
Un couloir long de 300 m, large de 70 cm et haut de 190 cm a été construit dans la galerie mentionnée ci-dessus. Il n’y avait pas de porte de sortie au bout du couloir, ce qui obligeait à rebrousser chemin au bout du couloir pour ressortir par l’entrée. La visite du couloir se faisait seul, sans exception. Considérant qu’en moyenne une visite prenait 15 minutes, seul un petit nombre de personnes pouvait visiter le couloir chaque jour, les visiteurs devaient obligatoirement attendre leur tour. A cause de l’exiguité et de la longueur de la construction, et comme il était impossible d’interrompre la visite à mi-chemin, le parcours générait différentes émotions allant de la claustrophobie à la solitude. Pour des questions de sécurité imposées par l’administration locale, cette oeuvre fut surveillée par 20 caméras vidéo couvrant 85% du couloir et 20 issues de secours furent dissimulées le long du parcours. De plus, le visiteur devait également signer une déclaration l’avisant d’éventuels troubles psychologiques ou physiques.
- SISSI, Suspended, 2005.
This was the piece presented for my show at the Italian Academy at Columbia University where I participated in an artist residency program. For the day, I substituted a couple of knitted cocoons for the American and Italian flags that normally hung there. I manipulated the cocoons from the inside of the building. NYC, Italian Academy of Columbia University.
- SMITH Barbara, A Meditation on Time, Ohio University, Athens. OH. 2005.
- SMITH Barbara, A Meditation on Time, Pmona College Museum of Art. 2005.
- SPRINKLE Annie & STEPHENS Elizabeth, Red Wedding, 2005.
- TANG Limi, Ritual, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- TANIUCHI Tsuneko, Micro-Event No. 25/VIP Cocktails. Scènes de vie, Swiss Art Center, 2005.
During the exhibit I served my VIP Cocktail (vodka, ice and apple juice=jus de pomme) behind a bar made of a block of ice. I was dressed as a bunny girl with a black transparent stocking at the bottom. This performance was video taped and was installed with the structure of the bar during the period of the exhibition.
- TANIUCHI Tsuneko, Micro-Event No. 28/Honey honey sugar & the secretaries, 2005, ‘‘Missing Pavel’’, Point éphémère, Paris.
« Dans le cadre d’une soirée ‘‘Missing Pavel’’ organisée par Véronique Hubert, au Point Éphémère, j’invente un personnage, une star de la scène glamoureuse underground du début des années 90, ‘‘Honey Honey Sugar’’. Par une chaude après-midi new-yorkaise de l’été 1993, Honey Honey Sugar fit la rencontre du reporter musical Pavel, à la terrasse du café ‘‘Lucky Strike’’ à Brooklyn. Mystérieusement disparu depuis le 23 janvier 2003, ce concert lui rend hommage. Honey Honey Sugar apparaît sur scène en compagnie de ‘‘The Secretaries’’. »
- TANIUCHI Tsuneko, Micro-Event No. 29/When I Fall in Love, ‘‘Des féminités en question’’, Mains d’oeuvres, Saint-Ouen, France, 2005.
Considering that the more marriages made, the easier is to demistify this imposed ritual, I continued to get married, fictitiously, in galleries, museums or arts centers. Thus, Micro-Event No.29 consists of recruiting the greatest number of candidates, male or female, for artistic weddings, with certificates and signatures into the bargain. The wedding photo, a poster for the photo and an altar for the wedding were presented during the exhibit.
- TELESE Emilia, Life of a Star, 2005, Venise.
Why are we obsessed with celebrities? What’s life like for someone who is continuously stalked, filmed, envied, spied upon, deprived of privacy? Are celebrities ultimately lonely in a sea of shallow obsession and flattery? Life of a Star is a study of celebrity and the effects of morbid attention from the public for the ‘famous for being famous.’ A movie star, incarnated by Emilia Telese, arrives at the Oscars’ night, surrounded by four bodyguards, protecting her, stifling her, shielding her, describing meticulously her every move, from the raising of an eyebrow to a detailed report of her smile, as a swarm of tabloid journalists are forever asking cheeky questions and launching in preposterous insinuations, and prying paparazzi flash their bulbs and call her name. The public is puzzled, the gossip flows, the limo stretches long. As she walks around in scarlet Alexander McQueen couture and matching satin heels, she is oblivious to the intrusions, her poised pout and fluttering eyelashes commanding an entourage of PA’s, agents, Italian hairdressers, bodyguards and fans with just one Valentino-shaded look. Life of a Star questions the validity of the star system and its preoccupation with status, fame and the superfluous.
- VOILA, Door, 2005, Chengdu, Chine (Hong Kong).
- VOILA, Doors, 2005, Chengdu, Chine (Hong Kong).
- WANG Ting, Joy is fleeting, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- WANG Ting, Not Forbidden, 2005, Chengdu, Chine.
- WEI Wei, Dialogue Beijing, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- WITTSTOCK Herma Auguste, ChristmasTree, 2005.
- WITTSTOCK Herma Auguste, Snot, 2005, Binnenkant 21, Amsterdam.
13 minutes/video performance
In this film my face is filmed from a low angle. The light is low, the shot stays the same. I cry. After a while snot starts running from my nose. After a big chunk of snot has come out, the film starts over.
Naturalness and disgust are often not far apart. Snot is a normal thing for a baby; for an adult it is uncomfortable. Something glossy runs from a nose and reminds us of glue. A new beauty and naturalness emerges. Photo/video: Herma Auguste Wittstock.
- WITTSTOCK Herma Auguste, Sweet For My Sweet, 2005, Berlin.
6 hours/live performance/HAU 1, Berlin.
My body is covered in sugar icing. Sweet For My Sweet is an interactive work. The audience as invited to lick the sugar from my skin.
- WITTSTOCK Herma Auguste, Waiting For Jens 2, 2005.
10 minutes/video performance/Binnenkant 21, Amsterdam, NL.
I set up a camera in a kitchen, filming nothing in paticular. After a while I forgot the camera was running. I ate, drank and smoked, read a newspaper, etc. This film shows a short excerpt of the kitchen tape.
I sit at the kitchen table and smoke, my head rests on my arm and my cigarette burns down. I dream around. After a while I cry.
I miss my boyfriend and film my missing him in an authentic way. I smoke to pass time. I dream because I think of Jens. I cry because I want to be with him. I film because I make art. Photo/video: Herma Auguste Wittstock.
- YANG Jiaoyong, Beautiful Coat, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- YANG Qiuhong, Endless climbing, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- XING Xin, Do not touch my hair, you can break my leg, 2005, Chengdu, Chine.
- YUENJIE, Recycle, 2005, Chengdu, Chine (Hong Kong).
- ZHENG Hong, Addition and Subtraction, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- ZHOU Bin, Balance One Sort of Sound, 2005, Chengdu, Chine.
- ZHOU Bin, Untitled, 2005, Chengdu, Chine.
- ZHOU Yuechao, Edible Human Nature, 2005, 3rd Dadao Live art Festival, Pékin, Chine.
- ZHU Ming, 25 avril 2005, 2005.