2003 : chronologie performance

2003

 

- ALBUQUERQUE Beatriz, Design, 2003, Maus Habitos, Oporto, Portugal.

68 min. Material list : wool.

Assisted by Sandra Fernandes and a real domestic cat the performance relates to the relationship between performance and design. In a symbolic game representing the complementarities of gender, Beatriz embodied the anima and Sandra the animus.

- ARAHMAIANI, Don’t Call It Performance Art, Reina Sophia Museum, Madrid: Andalusia center for Contemporary Art.

- ARAHMAIANI, His-story, 2003.

- ARAHMAIANI, Fusion & Strength, Gallery Benda, Yougoslavie.

- ARAHMAIANI, MIP (International Performance Manifestation), Belo Horizonte, Brésil.

- BANANA Anna, Tie a Knot on Me, in conjunction with Sachse’s entry in the city of Berlin’s annual Tranportable event. 

a series of installations and performances at 16 subway stations across the city Installed inside the Nordbahnhof station, hangin from the ceiling, was Sachse’s project, Knots/Crossings ; approx. 75 knots sent by artists from Europe, N. America, Africa, Asia and Australia. In conjunction with this installation, at the entry to the Station, in the former East Berlin, Dr. Anna Freud Banana, of the Specific Research Institute, conducts research into the responses of passers by to her request to « Tie a Knot on Me, a symbolic gesture to unite the peoples of the world ». and to answer her personal data questions, which she/they enter on her clipboard form.

- BANANA Anna, Banana Splitz, presented at the Festival of Independant Music and Art, St. Niklaas, Belgium.

- BEECROFT Vanessa, vb52, 2003.

- CHANG Hsia-Fei, 77015, 2003.

- CHANG Hsia-Fei, Echo Blossom, 2003. Salamanque.

Solo performance on November 21 to December 19. Espacio de Arte Contemporaneo El Gallo, Salamanca.

- CHANG Patty, Bath, 2003.

- DEIMLING BBB Johannes, Gezwungenermassen/To Be Compelled, 2003.

Galerie Schaschetzy/Graz, Austria/2003/60 minutes

Dressed with black pants and a white shirt I sit on a chair in the shop window of the gallery; at my feet two I carry two loaves of bread; 20 screw clamps are stuck to different parts of my body; they are attaching several dollar notes, the bible and the koran; like a sculpture and without moving I sit for a while. 

Photos: Lucia Dellefant.

- DEIMLING BBB Johannes, Schwimmhilfe/Water Wings, 2003.

photography/Berlin/Germany/2003/ 25 pieces, 60 x 40 cm each. video with Gabriele Avanzelli/Berlin, Germany/ 2004/ 4 minutes.

- EL KHALIL Zena, The Pink Bride of Peace, 2003-2006.

- FINLEY Karen, Make Love, 2003 (dvd)

- FOX Terry, Berliner Strasse, 2003, with Junko Wada, Berlin.

- FOX Terry, Hachinoco, 2003, with Junko Wada, Akio Suzuki, Rolf Julius, Felix Hess, Haus der Kulturen der Welt, Berlin.

- FOX Terry, Phases, 2003, Kunsthalle Fridericianum Kassel.

- FOX Terry, Shut Speech, 2003, Galerie Haverkamp, Köln.

- FRANKO B, I Miss You, 2003, Londres.

- GALINDO Régina José, ¿Quien Puede Borrar Las Huellas ?, 2003.

Who can erase these prints was made in 2003, during which Galindo walked from Guatemala’s building of Congress to the National Palace, dipping her bare feet at intervals in a white recipient full of human blood. This work is a vigorous protest against the presidential candidacy of Guatemala’a former dictator José Efrain Rios. (photo: Victor Pérez)

- GALINDO Régina José, Ella, Permanece, 2003, Guatemala.

Mi madre se presenta en una colectiva de arte llamada Maternidades Plus. Escondida detrás de un biombo muestra únicamente sus pies con várices, que son resultado de sus 5 embarazos.

(Colectiva Maternidades Plus. Centro de Cultura Hispánica. Guatemala. 2003)

- GALINDO Régina José, Proxémica, 2003, photos : Andrea Aragon.

Me encierro durante una noche y parte del dia en un cubiculo de blocks de cemento, poniendo yo desde dentro el último block. Para salir tuve que romper una pared con cincel y martillo.

(Colectivo Dias Mejores. Centro Cultural de Espanã. San José de Costa Rica. 2003)

- HOHKKI Kazuko, inspects indian artist Rajni (Pocha Nostra), 2003, Tate modern.

- HUAN Zhang, 18 Years Old, 2003.

- HUAN Zhang, Buddhist Relics, 2003.

- HUAN Zhang, Fifty Stars, 2003, Cincinatti.

- KOVACEVSKA Verica, I Must Be, 2003 (video)

Verica Kovacevska was born in 1982 in Skopje and studied in UK. She is known for live performances in which she directly integrates the audience and surroundings. In ‘‘Walking Project’’ (since 2006), she candily approaches passers-by, and in ‘‘Everyday Art, the Art of the Everyday’’ (2005-2006), she hands out postcards establishing contact between the artist, exhibition location and visitors. The second project took one year to finish and climaxed in an exhibition of 365 artifacts in the Museum of Contemporary Art in Skopje.

I Must Be is a video in four parts and is based on obsessive behaviour similar to that Marina Abramovic’s Art must be beautiful, Artist must be beautiful (1975). Each part was filmed in one take with no extra editing and documents the inconsequential rituals of life.

- KOVYLINA Elena, Red Adobe, 31-01-2003. The Performance & Exhibition, K&S Gallery, Berlin.

- LA POCHA NOSTRA, 2003, Audience members take over a platform to perform their ‘intercultural fears and desires’ during the production of ‘‘El museo de la identitad Fetichi-Zada,’’ Chopo Museum, Mexico City, June 2003.

- LIDÉN Klara, Paralyzed, 2003.

Klara Lidén (1979, Sweden) works are multidisciplinary. She uses video, installations and photography to involve the spectator in a subtle reflection on the connection between body and space. Thanks to her architectural trainin, she has a feeling for the ability to tranform public and private spaces through the presence of the body and different mimes and movements. Starting from everyday situations and places, new stages of interaction are created that transform the conventions of bodily representation. In a playful, provocative, rebellious and almost actionist manner, Lidén appropriates these spaces and modifies them, thereby rejecting the codes of behaviour that are commonly associated with them.

The artist is sitting on a train. She stands up and begins to dance acrobatically, occupying all the available spaces in the carriage. Her body adopts postures that transgress the typical body language of public transport. Beneath the curious to indifferent gaze of the other passengers, Lidén transforms the space in which she moves, revealing the rigidity of movement and the interaction models which govern that physical and social place.

- LOPEZ Carmen Luna, Senti, 2003 (theatre-performance).

- MARTINEZ César, Como luego existo, existo, luego como. eschatologie conceptuelle, 2003, Barcelone.

- MARTINEZ César, La vida a partir de la escoria, 2003.

Acto inaugural de la 4ta. Edicion de I Giardini di Xpo, Contenitore d’Arte, Natura, Scienza, Magia, Milan, Italia. Curadoria de Antonella Giridiano. Fotos de Tamara Vignati.

- MAUBREY Benoît, Audio-Ballerinas, 2003 (audio-art/danse).

- OLOWSKA Paulina & McKENZIE Lucy, Oblique Composition, 2003.

Paulina Olowska (1976, Poland) lives and works in Raba, Poland. She attended the School of the Art Institute of Chicago and the Academy of Fine Arts in Gdansk, Poland. Lucy McKenzie (1977, UK) studied at Duncan of Jordanstone College of Art and Design in Dundee and at the Karlsruhe Academy of Fine Arts, Germany.

In their work Oblique Construction Lucy McKenzie and Paulina Olowska adopt the caricatural roles of ‘‘working women’’ – an artist and an architect – weaving a loose narrative that explores the idea of making art as well as its process and perception. In front of an invited audience and against a minimal but highly formal set, the women appear separately, although their physical similarities imply that they are mirror images of one another. When they do appear together, McKenzie begins to sketch Olowska’s portrait. The surrounding audience watches McKenzie, noting her ability to translate what is in front of her into a work of art. Art’s transformation of reality is a central theme of this performance. This idea has gained signifiance by the fact that the performance is now an edited, projected film. The accompanying soundtrack – melancholic piano music – adds another layer and reinforces the sense of artifice.

- OROZCO Lorena, Cuatro Millones, 2003, Galeria José Maria Velasco, Mexico, photo: Josefina Alcazar.

- SAADEH Raeda, The Basket Head, 2003.

- SIERRA Santiago, Coups de feu, décembre 2002-janvier 2003, Culiacan, Mexique.

Enregistrement pris à Culiacan, la capitale de l’état de Sinaloa au Mexique durant la célébration du Nouvel an, entre 23 heures au 31 décembre 2002 et minuit et demi au 1er janvier 2003. Pris sur le vif, l’enregistrement comprend des rafales d’armes à feu et de fusils d’assault. (Image: exposition à Art Basel 2003)

- SISSI, The Walk, 2003.

This installation, made as site specific project for my two-person show (with Ian Kiaer) at W139 in Amsterdam, consisted of a lerge structure created with hundreds of wooden sheets. During the opening I walked on the top of this white mountain for several hours. The audience could enter the space through a tunnel made inside the wooden structure and see the performance from the center of the installation (valley). Amsterdam, W139.

- SMITH Barbara, Making Book, 2003, residency & performance. Beyond Baroque, Venice, CA.

- TANIUCHI Tsuneko, Micro-événement n° 6 bis/Fast food, 2003.

ECObox, Paris 2003 ; l’Espace Forde, Genève, 2003 ; Palais de Tokyo, 2004 ; Hôtel Reliance, Mains d’Oeuvres, Saint-Ouen, France, 2004 ; Festival des cultures électroniques Japonaises, Café Chéri, Paris, 2004.

Un grand nombre d’immigrants composent la société urbaine d’aujourd’hui et, souvent, la cohabitation de personnes d’origines différentes engendre des problèmes dans la vie quotidienne.

Dans notre société, de plus en plus de personnes mangent des produits ‘‘fast-food’’ d’origines diverses. Toujours est-il que le ‘‘fast-food’’ est devenu insdispensable dans notre vie de tous les jours. C’est dans ce contexte que je veux intervenir et réfléchir avec vous. Qu’est-ce que l’on mange et comment le mange-t-on ? J’invente de nouveaux menus de ‘‘fast-food’’ en mélangeant les différentes cultures : Sushi Merguez, Houm-burgers… etc.

(texte écrit à l’occasion de l’événement ‘‘une soirée dans le jardin des langues’’ à l’ECObox, 2003)

Dans Sushi Merguez, comme une animatrice de télévision, je montre comment réaliser une recette de ‘‘fast-food’’ de mon invention qui lie deux cultures culinaires : des sushis aux merguez. Après avoir confectionné devant le public mes sushis, j’invite celui-ci à les déguster et à en discuter. Cette dégustation induit donc des cenversations conviviales, des échanges parfois vifs autour des notions de goût, de culture – mais aussi de la raison de ce type d’action artistique.

- TANIUCHI Tsuneko, Micro-événement n° 21/Candidature en vue de mariage, 2003.

Intimités, Hôtel de ville, Paris, 2003.

J’ai récidivé pour l’exposition Intimités à l’Hôtel de Ville de Paris, aux journées de la femme en 2003, où j’ai utilisé le vrai lieu du registre de procédure de mariage.

Considérant que plus on consomme de mariages, plus il devient possible de démythifier ce rituel imposé, je ne cesse de me marier fictivement dans des galeries, des musées ou des centres d’art. Ainsi Micro-événement n° 21 consiste a recruter le plus grand nombre possible de candidats, hommes ou femmes, pour nous marier artistiquement, avec certificats et signatures à la clé.

Je me présentais sur un podium tournant très lentement, sous une cloche transparente à la manière des poupées présentées dans les vitrines de Noël, tout en chantonnant When I fall in love. Ensuite, je suis sortie de la cloche pour me marier le plus grand nombre de fois possible, sans la limite du sexe.

Cette action a été filmée le soir du vernissage et présentée, en continu, durant tout le temps de l’exposition.

- TANIUCHI Tsuneko, Micro-événement n° 23/La Mariée mobile, 2003.

Mobilités, La Maison des Sciences de l’Homme, Paris, 2003.

Invitée à l’occasion de l’exposition Mobilités, on retrouve la même situation avec un camion, garé devant la Maison des Sciences de l’Homme. Dans cette exposition, j’ai réalisé Micro-événement n° 23, où j’ai proposé à des personnes de se marier avec moi dans le camion qui était préparé à cet effet. La mariée dans son camion, c’est le déplacement physique et mental de la mariée elle-même et de l’ordre du mariage. Photos: Sandrine Aubry.

- TELESE Emilia, Gesture 2, 2003.

Gesture 2 was presented at the Up-Grade 0-1 Festival (Club-Tenax-Florance) on 21-01-03. Photography and documentation : Mark Bennett.

- TIRADO Katia, El acto, 2003, Galeria José Maria Velasco, Mexico, photo. Josefina Alcazar.

- WITTSTOCK Herma Auguste, Absent Mindedly, 2003, live performance (3 hours), Kunsthalle Fridericianum, Kassel.

I lie on a narrow board wearing a plain wide dress with long sleeves. It is made of dark blue satin. My hair is open and my feet are bare. My face is relaxed, eyes closed. On the ceiling, above my forhead a bottle of water is mounted. Drops of water fall on my forehead in regular intervals. In ancient China the drop of water was used as torture. My work is about concentration and relaxation, trsnforming the torture into meditation. Exploring the border between danger and joy, it is up to the artist to let the joy prevail by not concentrating on the drops of water but the nothingness.

- WITTSTOCK Herma Auguste, Because 8 Is Great, 2003 / 45 minutes / live performance / Hochschule für Bildende Künste, Braunschweig, DE Collaboration with Declan Rooney 

Because 8 Is Great consists of eight parts: 

1. No. One: Declan stands on my belly and tries to keep his balance; 

2. Duo: We wear one sweater together and play the guitar and sing “we’ve been so lonely”; 

3. We Have No Time: We face each other and say as fast and often as possible “we have no time”; 

4. Night Sea Crossing: Like in the work of Marina and Ulay we sit at a table and look at each other. After a while I start to move towards Declan and climb across the table towards him. He farts; 

Milky Way: As an interlude a film is shown. Declan and me are drinking a glass of milk, put cling film onto our faces and spit out the milk; 

5. 1977: In black light, after a while our underwear becomes visible; 

6. The Shit/Scheiße Piece: An acoustic piece in techno style; 

7. If You’re Happy: We face the audience wearing black hoodies and looking glum, whispering “if you’re happy and you know it, clap your hands”; 

8. The Candle Piece: We draw a candle for everyone; 

Outro: We look stoned and sing “Heal the world”. 

Because 8 Is Great is combining funny and contemplative pieces. When Declan and me perform, we often seem funny at first sight. But then seriousness, irony, sadness and loneliness appear. 

Photos/Videos: Constanze Schmidt

- WITTSTOCK Herma Auguste, Movie Star, 2003, Kunsthalle Fridericianum, Kassel, Allemagne.

I am alone in a small room. In the middle of the room is a pedestal which I am standing on. I am naked, but my skin is corvered with honey.

I stand on the pedestal like a star. In one arm I hold a bowl containing glitter particles like you know from TV shows. I pick up a handful of glitter and throw it over my body. It looks like glittery rain. After a while my body is full of glitter… In the end you cannot see my skin, only a new glitter dress. In the background you can hear the song ‘‘Movie Star’’.

The work Movie Star was devised after watching a presentation of a movie award on TV. Journalists asked the audience what they liked most. Every person answered ‘‘the nice glittery dresses, to think to be a star…’’ In my work Movie Star I respond to these people in a ironical way.

To think to be a star and to have a glittery dress is quite easy. I reduce stardom to standing in front of an audience and to have a glittery dress. A new dress, a new star is born…

This piece is a standing picture, which is moving slowly. The dress is an object. My body is nature, and after a while it is glittery, my body is a sculpture then. Photo/video: Alisdair McGlasson.

- WITTSTOCK Herma Auguste, Sundaybath 2, 2003, Padiglione d’Arte Contemporanea, Milano, Italie.

3 hours 30 minutes/live performance

In the centre of the room stands a zinc bathtub. The tub is too small for me to sit in it. It is filled with long iron nails.

I am naked and wash myself with the nails. After some time my skin turns black from the iron dust of the nails and red from the scratching.

Sundaybath was born out of my feelins towards church. I performed this work on a Sunday for the first time. Sundays you have to wash yourself, before going to church, to have a new clean soul.

But the death of Jesus, his blood, the nails in his hands are not clean. I must think about that. I want to wash myself to be really clean. But the bath is too small. So I cannot be completely clean. 

Sundaybath 2  is a variation of Sundaybath, but without the water. Photo/video: Alessia Bulgari.

- WOJCIK Julita, Pozamiatac po wlokniarkach, 2003.

In her actions, Julita Wojcik (1971, Poland) is often seen wearing seemingly traditional clothing. Her attire reminds us of a farmer’s wife or farm labourer, but her coulourful head scarf and patterned apron also fulfil the cliché of a woman painter and this contrast with the mundane, everyday character of her actions. Her performances are coloured by small actions, such as peeling potatoes in a gallery room or lecturing about abstract art notions to cows in the field, while her sculptures and wall pieces depicting communist era prefab buildings are also the product of a supposedly feminine activity: crocheting. Blurring the borders between what is agriculture/rural, artistic/idealistic and everyday/mundane, Wojcik offers an often humorous view of the human condition.

The video Pozamiatac po wlokniarkach (To Sweep After Textile Workers) documents an action by Julita Wojcik in the empty Ludwig Geyer textile factory in Lodz, Poland, in 2003. The artist can be seen sweeping up dirt in the dark and derelict building. The title suggests the former use of the building and hints at the tendency to forget that female workers once had a strong presence in this city. Lodz used to be a nationally recognised centre of textile production before it became a post-industrial shopping centre. This video belongs to the Muzeum Sztuki w Lodz (Museum of Art in Lodz), whose new buildings were erected on the former textile factory, meanwile Geyer’s factory was demolished.