So Help Me Hannah: Snatch-Shots with Ray Guns @ Hannah Wilke. 1978
- WILKE Hannah, So Help Me Hannah: Snatch-Shots with Ray Guns , 1978. 14 x 11 inches/performalist self-portrait with Donald Goddard.
Arts, histoire des arts, performance, arts visuels, arts sonores, musique, design, arts de l'écran, arts de la scène, technologies du son et de l'image
- WILKE Hannah, So Help Me Hannah: Snatch-Shots with Ray Guns , 1978. 14 x 11 inches/performalist self-portrait with Donald Goddard.
- BUSTAMANTE Maris, Patente de Taco (Taco Patent), 1979. Since her first happening in 1971 Maris Bustamante (1949, Mexico) – a graduate from the Escuola Nacional de Pintura y Escultura La Esmeralda at Mexico City – began ‘‘a search for non-traditional...
- ARAHMAIANI, Produk Gertoli, 2008, Sanata Dharma,Yogyakarta, Indonésie.
Acrylic on canvas, 182 x 140 cm Forms from ''cosmic copulation'', inspired by Hindu cosmology, here however, with the feminine yoni on top (and not, as tradition has it, underneath) of the masculine lingam - are combined with Arab, Malaysian, and Hindu...
- BEAN Anne, Shadow Deeds, 2006. Shadow Deeds are performances Anne bean first developped in 1969-1974 (when she was 18-24) that she performed in front a camera in 1996-2005. Bean showed the resulting video reenactments in the Autobituary exhibition at...
- ASHERY Oreet, Portrait Sketch. 2006. ‘Portrait Sketch’, street intervention, Delhi, 2006. In 2006, Whilst in Delhi, Ashery visited the craft market Dilli Haat dressed as a Jewish man. She had her portrait drawn by a portrait sketch artist. Later on...
- ASHERY Oreet, Marcus Fisher, boy to man, 2007. ‘Global Feminisms’, Brooklyn Museum, curated by Maura Reilly and Linda Nochlin. The work with my alter ego, the hybridic orthodox Jewish male Marcus fisher, includes videos, performances, interactions,...
- ASHERY Oreet, Right, Left, 2007. Right-Left was performed at the Freud Museum as part of the group show ‘PARANOIA’. Visitors to the opening were invited to have their left and right hands massaged simultaneously by a Jewish and Muslin look alike masseurs....
- CORREA Nieves, El Abrazo 1, Madrid, 2006. Since the 1980s, Nieves Correa (1960, Spain) has been carrying out intense work in the field of artistic performance as well as organizing festivals and meetings and editing publications on performance art....
- COBLE Mary, Binding Ritual, Daily Routine, 2005. Binding Ritual, Daily Routine was a live performance that took place at Artists Space in NYC, NY in 2005 as part of ‘‘Performa’05’’. In this performance piece the artist repeatedly taped and untaped her...
- CHICKS ON SPEED (COS), Visitors, 2004. Chicks On Speed (COS since 1997, Germany) were founded by Melissa Logan (USA) and Alex Murray-Leslie (Australia) in Munich as a multi-disciplinary art project.They were primarily active as a band until 2005, when...
- CHICKS ON SPEED (COS), Butt Smack Bongo, 2007. Chicks On Speed (COS since 1997, Germany) were founded by Melissa Logan (USA) and Alex Murray-Leslie (Australia) in Munich as a multi-disciplinary art project.They were primarily active as a band until...
- 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 J...
- CHANG Hsia-Fei, Echo Blossom, 2003. Salamanque. Solo performance on November 21 to December 19. Espacio de Arte Contemporaneo El Gallo, Salamanca.
- CAMERON Shirley, ROSS Monica, SILVER Evelyn, Monument to Working Women. 1985 Shirley Cameron’s sculptural work from the 1960s developped into a hybrid practice in the 1970s that included performance and a collaboration with Roland Miller. In the 1980s,...
- 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...
- 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...
- 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.