artperformance.org

- BEAN Anne, Moody and the Menstruators, 1971-1974. In 1968, Anne Bean (1950, Zambia, UK) arrived in Great Britain to study art. Since then, she has developed a body of works that cannot be sufficiently described using medial categories. Sound and music...

- COLETTE, Street Works, 1971-1979. Colette has been living in New York since the 1970s. She is an artist who embodies the fusion of art and life. She plays with roles and changes identities in radical ways in order to transform art into a space for living...

- COBLE Mary, Blood Script, 2008. Blood Script was a live performance piece that took place at the PULSE art Fair at Pier 40 in NYC, NY in 2008. The artist meticulously documented inscriptions from three previous marker (DC, NYC and Madrid). Performances...

- DISBAND, Every Day Same Old Way, 1979. Video Performances. 1978-1982. DISBAND (USA, 1978-1982) was an all-girl punk and a capella band none of whose members were able to play an instrument. Their singing was accompanied by percussion sounds created...

- IVEKOVIC Sanja, Triangle, 1979. « The action takes place on the day of the President’s visit to the city, and it develops as intercommunication between three persons: 1. a person on the roof of a tall building across the street from my apartment; 2....

- INGRIDROBERTMWANGIHUTTER, Eastleigh Crossing, 2009. 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...

- 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...

- 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...

- 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.

- 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,...

- FONTANA Lucio, Concetto spaziale (50 B 4). 1950. - FONTANA Lucio, Concetto spaziale (50 B 9). 1950. - HALPRIN Ann, The Prophetess. 1950. - SHIMAMOTO Shozo, Holes (Trous). 1950 (Gutai)

1965 - BEUYS Joseph, How to Explain Pictures to a Dead Hare (Comment expliquer des peintures à un lièvre mort), 1965. Galerie Smela. Düsseldorf (fluxus-action) - BEUYS Joseph, Twenty-Four Hours, 1965. - BRUS Gunther, Selbstbemalung, 1965 (fluxus). - BRUS...

1964 - BEUYS Joseph, Le Chef (Der Chief), 1964 (action) - BOYLE Mark, Suddenly Last Supper, 1964. - BRECHT George, Solo For Violin, 25/04/1964 (FluxFest at Fluxhall), fluxus. - BRUS Günter, Ana, 1964. (actionnisme) « A movable feast… A happy, pleasant,...

1968 - BARUCHELLO Gianfranco, Perforce, 1968. The flesh of children, the bodies of children, children in the ritual mechanics of sacrifice. The ring-a-ring o’roses of the tiny bird disappears in a blaze of napalm. The negro floats motionless; nothing...

- LINDMAN Pia, Fascia Chair, 2006. Custom designed and built chair for making the video fascia. Designed by Pia Lindman, craft : Charles Mathis.

- LINDMAN Pia, Fascia. Squashed Face, 2006. Still from ‘Fascia’ video, part 2, one of the ‘Nine Faces’: ‘Squashed Face.’ Facial expression held fixed for one hour with the help of the steel contraption, while video records the entire duration. The one-hour...

- LINDMAN Pia, The New York Times Performance, 2004. Since 2003 I have performed in public by reenacting gestures of grief I have found on the pages of the ‘‘New York Times.’’ I perform in squares, parks, museums, and malls. The locations are varied and...

- MONTOYA Marleny Pineda, Performance, 2006. Marleny Montoya propose aux gens d’écrire ce qu’ils veulent sur son corps peint en blanc et immobile, au fond la photo du rayon de beauté d’un supermarché. Le public peut écrire ses désirs, ses sentiments sur...

- 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...

- RASMUSSEN Lilibeth Cuenca, The Artist’s Song, 2006-2007. Which artists make art history and who decides this? What are the rules of the art game? A historical and critical view of some of the most innovative Art pieces made in this century. Refrain....

- ROE Alex Martinis, Free Associations, 2010. Five white chalkboards were installed along a long gallery wall and were written on by participants using white chalk. The parameters for this encounter were controlled using a booking system. As people indicated...

- JONAS Joan, Organic Honey’s Vertical Roll, 1973. NYC. First performed in 1973 at the Toselli Gallery, Milan, Italy. « I became interested in masks when I went to Japan in 1970. I went to the Kabuki and the No theatre every day for a month, and the level...

- HERSCHMAN Lynn, Roberta Breitmore, 1970-79. — Jack Chipman, « Lynn Lester Hershmann/An Interview, » Artweek, v.3, July 1, 1972, p. 2. An interview with Hershman about her ideas on art and her use of multi-media. Extrait: « J.C.: Are you a multi-media...

- WILKE Hannah, So Help Me Hannah: Snatch-Shots with Ray Guns , 1978. 14 x 11 inches/performalist self-portrait with Donald Goddard.