2013 : chronologie performance
2013
- AL-FATLAWI Ali, Performance, Guangzhou live 3, Chine
- ARAHMAIANI, Memory of Nature, 2013.
- ASSIS Magno, Reivax X. Em. Uma comedia cotidiana de amor muda em 5 partes (passage), 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Fran Pollitt.
A city crowed with people, vehicles, plazas, buildings; an ordinary citizen, a bicycle, a small boat and a briefcase: indispensable prostheses for this individual who inhabits this metropolis. A journey that brings to light shocking element of the illogical, with the goal of intervening and directly reproducing the madness and lack of solutions in which man and society find themselves.
Magno Assis is a performance artist and interventionist, trained in performing arts with a concentration in Management of Public Policy and Culture at the Universidade de Brasilia, where he is a cultural producer. He uses the languages of comic performances -– from irony to satire and the grotesque.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2038-enc13-magno-assis-reivax
- BILAL Waafa, 3rd, 2013.
- BING Han, The Melon Farmer’s Dream of China, 2013.
- BOLIVER Rocio (aka La Congelada de Uva)& GRANDE Begona Grande, Balancing the Edge, 2013.
Defibrillator Gallery, Chicago.
- BOLIVER Rocio (aka La Congelada de Uva), Time goes by and I cannot forget you: Between menopause and old age, 2013, Brooklyn International performance Art Festival, Grace Exhibition Space, NYC. Photo. Yoko Toda.
- BOUKHARI Nisrine, Wilaya of Relizane. 1998 (Massacre de Ramka), 2013 (video-performance)
‘‘The massacre took place just as the inhabitants of the hamlets around the town of Relizane, 180 miles west of Algiers, were breaking their daily Ramadan fast at sunset. until dawn the next morning the militants slit people’s throats, cut off their heads and beat children to death against walls, villagers said’’. (The Independent, 4 January 1989) Wilaya of Relizane on 1998 is one atrocities massacre of endless numbers of massacres happened around the world, always the same terrible violence in the same kind of mask but in different faces and different places.
- BOULOGNE Marijs, Anatomy Lesson, 2013.
- CANONGE Hector, Europa, 2013.
- CANONGE Hector, Man of Clay (Hombre de barro), 2013.
- CANONGE Hector, Sud.Aka, 2013, Sao Paulo.
Hemispheric Institute Encuentro, 2013. Photo. Lorie Novak.
Public intervention of streets and plazas in and around the perimeter of encuentro’s main site in Sao Paulo. The performance evokes the disconnections and alienation of migrants in major urban centers. Canonge will roam the streets of Sao Paulo asking people to tel him a little bit about the history of their place of origin.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2037-enc13-hcanonge-sudaka
- CANONGE Hector, Sur, 2013.
- CHELLET Alejandro & GARDINER Hannah, Temporary Social Point, 2013, São Paulo.
Hemispheric Institute Encuentro, 2013. Photo. Fran Pollitt.
Using street performance/intervention we will create a social experiment addressing different themes: love, altruism, community living,/support and informality as a real alternative of autonomous social organization for this new era of change of paradigm, crisis and peak oil. We will make a space to explore, listen and learn.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2024-enc13-chellet-gardiner
Alejandro Chellet founded an educational urban agriculture project in Mexico city. He has co-worked with punks, squatters, ecologists, political activists, organic farmers, permaculture people, mexican shamans, women and children.
Hannah Gardiner has a background in traditional dance theater and graduated in sculpture in 2009. Her work focuses mainly on social and political issues, and she also interested in visual metaphors and art as an experience.
- COLECTIVE DE PERFORMANCE HEROIS DO COTIDIANO, Releasing Concerns, 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Alexei Taylor.
Residents of communities lacking resources, voiceless minorities, quilombos, prisons, homeless shelters, and hospitals will share their concerns with the heroes. There are fastened immediately to helium balloons and sent into the space together.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2030-enc13-herois-do-cotidiano
- COLETIVO TEATRO de OPERAÇÕES, The Scene is Public, 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Carlton Turner.
The privatization of the public scene. The theater of representative democracy, the mischaracterization of citizenchip transformed by its attachment to consumerism, money and the possession of goods. The transference of citizen’s political power. A scene that, in discussing theatre itself and its structures, is constituted by a search for detachment of the big protagonist and big political stages, a gesture towards deviant micro-powers.
Colectivo Teatro de Operaçóes was created in 2009 by a group of young artists dissidents of the exetension programtheatre in prison (linked to UNIRIO), interested in investigating ways to combine art and micropolitical activism, using the body as a field of manifestation and the street as an area of intervention.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2031-enc13-colectivo-operacois
- D’EMILIA Dani, Archive of Personas. Always in Process-Bondage Ballerina, 2013, VIII encontro. Instituto Hemisferico de perf. e politica. SP. Brasil.
- D’EMILIA Dani, Archive of Personas. Always in Process-Deconificada, 2013, VIII encontro. Instituto Hemisferico de perf. e politica. SP. Brasil.
- D’EMILIA Dani, Archive of Personas. Always in Process-Indianauticus, 2013, VIII encontro. Instituto Hemisferico de perf. e politica. SP. Brasil.
- D’EMILIA Dani, Archive of Personas. Always in Process-Porcine Beauty, 2013, VIII encontro. Instituto Hemisferico de perf. e politica. SP. Brasil.
- D’EMILIA Dani, Archive of Personas. Always in Process-She Bull, 2013, VIII encontro. Instituto Hemisferico de perf. e politica. SP. Brasil.
- DE GRACIA Silvio, USA for Piss, 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Marlène Ramirez-Cancio.
Aimed at the city and the imaginary, this action intends to generate dialogue and reflection around the permanent historicak tensions between hegemonic cultural/political power and the popular extension of resistance in activist and fringe art throughout the Americas.
Silvio de Gracia is writer, visual artist, performer, theorist and independent curator from Argentina.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2060-enc13-sdegracia-usa
- DAF/COLLAZOS Diana, Agua, 2013, Pérou.
- DAF/COLLAZOS Diana, No One Can Take That Away from Me, 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Julio Pantoja.
Images are installed as ‘‘advertisements’’ at different points along a thoroughfare. On them, the autor appears cross-dressed in men’s outfits corresponding to different indigenous dances of her country, seeking to question and generate dialogue around gender identity, the terms ‘‘machismo’’ and ‘‘feminism’’, and advocating for the idea of a body of sexual multiplicity, balanced between its multiple options, free of social prejudices.
Diana/DAF/Collazos is a multidisciplinary artist and independant cultural producer. Her work centers around performance, urban interventions, video, and installation.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2033-enc13-diana-collazos
- DAF/COLLAZOS Diana, Solanum Tuberosum, 2013.
- DAF/COLLAZOS Diana, Terra en ti erro 1, 2013, Bahia, Brasil.
- DAF/COLLAZOS Diana, Terra en ti erro 2, 2013, Bahia, Brasil.
- DEIMLING BBB Johannes, Around The World #8, 2013.
28 minutes.
cipaf-cyprus international performance art festival, nicosia, cyprus 2013
- pushing a chair with soil in a circle
- bumping the chair on the floor to mark north, east south, west
- pointing with my forefinger at the audience
- swinging chair attached to a string around
- chewing earth and rubbing it with both hands on the belly
- throwing white tissues
- placing a cake on my head
- pressing the cherries of the cake on my white shirt
- holding a white toy horse
- walking around with an umbrella trestle
- throwing white petals in the audience
- waving a withe tissue and leaving the space
- DEIMLING BBB Johannes, Cleaning Memories, 2013, Photos: Monika Sobczak.
90 minutes
old market place, city gallery, Bydgoszcz, 2013
curated by Wojciech Kowalczyk
- Scrubbing neatly and tidily with a brush a coblestone line marking the old market square
- placing roses on the cleaned line
- collecting them and blinding the roses on my head
- standing at the end of the line and shaking my head and body.
- DEIMLING BBB Johannes, Deutschland Deutschland, 2013, vidéo-performance. 22 minutes.
‘Deutschland Deutschland’ is a performance for video. The title is taken from the first verse of the former german anthem which is forbidden to sing since world war 2. It is connected with the forbidden nazi salutation which I do and try to keep as long as possible. The struggle is a metaphor which offers a critical view on the past and the present of german history, but also points on fascism mindsets all over the world. The video is underlined with a slowed down version of the original compostion of the german anthem composed by Joseph Hayden.
- DEIMLING BBB Johannes, Green Line, 2013, Nicosie, Chypre. Photo: Monika Sobczak.
16 minutes
Cipaf-Cyprus International Performance Art Festival, University of Nicosia, Nicosia, Cyprus 2013.
- placing 15 kilos of dough on the head
- trying with folks to keep the dough on the head
- pulling a green ribbon out of my shirt pocket
- lacing the dough with green ribbon
- DESVIO COLETIVO & COLETIVO PI, Blind, 2013, São Paulo.
Public intervention/performance. Hemispheric Institute Encuentro, 2013. Photo. Alexei Taylor.
Dozens of male and female executives, dressed in business attire, carrying suitcases, bags, cell phones and documents, covered in mud, blindfolded, walk very slowly, blending in with passers-by, destabilizing the daily flow of the city»s finacial and political center. The performance is by Desvio Coletivo and Coletivo Pi, based in São Paulo. Blind seeks to politically intervene in the city and provoke different readings.
http://hemisphericinstitute.org/hemi/en/enc13-performances/item/2032-enc13-desvio-pi
- ERRO GRUPO, Ways to Play, 2013, São Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013. Photo. Julio Pantoja.
Ways to Play considers the aesthetic and disciplinary objectivication of the human body by exploring the streets as a field for an old popular game in brazil, the Cinco Marias. In contemporary society, we succumb to the seduction of borrowed attitudes, in a kind of non-authenticity, in fragments of attitudes chosen, almost unconsciously, from a range of dominant stereotypes.
Erro Grupo is well-known in Brazil for the multidisciplinary urban interventionism that they have developed since 200. The group develops street theater and urban interventions that deal with risk, violence, and peripheral performance, inserting art in daily life as political praxis.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2035-enc13-erro-grupo-play
- FEMEN, Brûlons les poupées !, 2013.
‘‘Les sextrémistes de FEMEN (ont) brûlé une poupée Barbie durant l’ouverture de la Maison de rêve de Barbie à Berlin. Un Barbie’cue a été réalisé avec la viande fraîche que symbolisent ces poupées afin de montrer le vrai sens du monstre commercial de Mattel. Ils ont fait de ces poupées un véritable Dieu pour les millions de jeunes filles dans le monde entier qui ne cherchent maintenant plus qu’à imiter ces débiles morceaux de plastique. L’idéologie nazie de Mattel s’est appliquée à créer l’image d’une petite poupée femelle bien rangée, dont la seule raison d’exister est d’être belle et de prendre bien soin de son intérieur de femme au foyer. FEMEN appelle impitoyablement à brûler ces poupées ! Les femmes ne sont pas des Barbies ! Les femmes vont faire la révolution !’’ (FEMEN)
- FEMEN, Robot de cuisine, 2013.
- GALINDO Regina José, Caminos, 2013, photos: Jorge Linares & David Perez
Todos los caminos conducen a la muerte
Todos los caminos conducen a la vida
Mi cuerpo permanece escondido dentro de un matorral. El cuerpo es un bulto, amarrado concuatro hilos que son sacados por cuatro mujeres hacia el espacio exterior. Los hilos hacen dibujos por la calles de Antigua Guatemala. El público debe de seguir los hilos para encontrar el cuerpo.
Curaduria: Rosina Cazali.
Video: José Enrique Juárez.
Fotos: Jorge Linares, David Pérez.
Voluntarias: Ana Monroy, Rosina Cazali, Carol Robles, Edna Sandoval.
(Concepción 41. Antigua Guatemala, Guatemala, 2013)
- GALINDO Regina José, Clausura, 2013.
Permanezco dentro de un nicho mortuorio de cemento mientras es clausurado frente al publico el dia de la inauguración. El publico no me ve, sabe de mi a través de mi respiración que ha sido amplificad, con un micrófono, desde el interior. Curadoria: Blanca de la Torre. Comisionado y producio por CAAM. Gran Canaria, Espaná, 2013.
- GALINDO Regina José, Cortejo, 2013, photo: Byron Mármol.
Vivir en una ciudad de riesgo es vivir con la idea de la muerte siempre cercana. Se vive con la aceptación de que todo es posible y nos vivimos la vida con ansias porque sabemos que en cualquier momento podemos perderia. Sabemos cuánto vale la vida poraque sabemos cómo duele la muerte.
Mi cuerpo permanece dentro de una caja de muerto hecha a mis medidas. La caja permanece dentro de un carro funerario. El carro funerario hace un recorrido por algunas calles de la ciudad de Guatemala, el público hace el recorrido mientras acompaña el cortejo.
Curadoria : Emiliano Valdés.
Video: José Enrique Juárez.
Fotos: Byron Mármol.
(proyectos Ultravioleta. Ciudad de Guatemala, Guatemala, 2013)
- GALINDO Regina José, Descensión, 2013.
Fragilidad absoluta de la vida. Fragilidad absoluta de la muerte.
Un pequenã linea separa la una de la otra.
En un segundo descenderemos bajo la linea del horizonte y seremos tierra.
Desnuda, en posición horizontal, permanezco acostada sobre la hierba. Mi cabello está amarrado a una piedra que traje de Guatemala y la piedra está enterrada y esto impide que pueda levantarme fácilmente.
Curadoria: Belén Romero.
(Ciudad de México, México, 2013)
- GALINDO Regina José, Negociación en turno, 2013.
Una fila de individuos espera turno para cargar la idea de la muerte. Esperan en silencio y cuando les llega el turno cargan responsablemente; sabiendo que si doblan las rodillas la carga será más pesada para los otros.
La carga entre varios parece ser más ligera. La idea de la muerte vivida entre varios parce también ser más ligera.
Curadoria: Oscar Roldan-Alzate.
Video: Daniel Gil y Felipe Restrepo.
Fotos: Victor Robledo.
(42 salón (inter)nacional de artistas. Medellin. Colombia, 2013)
- GALINDO Regina José, Piedra, 2013, São Paulo.
Performance. Hemispheric Institute Encuentro, 2013. Photo. Marlène Ramirez-Cancio.
The history of humanity has remained inscribed on the bodies of Latin American women. On their bodies – conquered, marked, enslaved, objectified, exploited, and tortured – one can read the terrible stories of power and struggle that shape our past. Bodies are fragile only in their appearance. It is the female body that has survived conquest and slavery. Like a stone, it has stored the hatred and rancor of memory in order to transform it into energy and life.
Regina José Galindo is a performance artist who specializes in body art.
http://hemisphericinstitute.org/hemi/en/enc13-performances/item/2015-enc13-rjgalindo-piedra
‘‘Piedra
Soy una piedra
no siento los golpes
la humiliación
las miradas lascivas
los cuerpos sobre el mio
el odio.
Soy una piedra
en mi
la historia del mundo.
Mi cuerpo permanece inmóvil, cubierto de carbón, como piedra. Dos voluntarios y alguien del público orina sobre el cuerpo piedra.
(video: Victor Bautista, Henry Castillo. Fotos: Julio Pantoja, Marlene Ramirez-Cancio)
- GALINDO Regina José, Suelo Común, 2013.
Abajo
Más abajo
Subsuelo
Submundo
Subterráneo
Alli se occultan, alejados de la realidad, alejados de nuestra realidad. Caminamos sobre sus restos sin darnos cuenta, son nuestro suelo, la tierra que nos sostiene, donde realmente estamos parados.
En Guatemala, como en Eslovania, cientos de fosas comunes ocupan nuestros territorios. En Eslovania, como en Guatemala estamos parados sobre un pasado escondido, del que poco se habla, que nos negamos a desenterrar.
Permanezco enterrada en una fosa hecha a raz del suelo. El público puede verne y caminar sobre la fosa que está protegida con un vidrio transitable. (2012)
- GOLUBOVIC Snezaná, TROJAN Stefanie & REISER Barak, Like, 2013, (video).
- GRACIA Fausto & BOARRETO Rose, 2013. Chili, photo. Gabriel Montero.
- GRACIA Fausto & BRAULT Christina, Con el calo de nuestro aliento, 2013, Mexique, photo. Abraham Khalid.
- GRACIA Fausto & GRACIA Oscar, Accion, 2013, Chili, photo. Pamela Arevalo.
- GRACIA Fausto & MIALICHI Gilio, Duo-Hibrido, 2013, Brésil, photo. Caio Lion Man.
- GRACIA Fausto & VEIGA Luna, O que Nos une Eo que Nos separa, 2013, Brésil.
- GRACIA Fausto, Accion, 2013, Lembrança, Mexique.
- GRACIA Fausto, Accion 1, 2013, photo. Ze Mariano.
- GRACIA Fausto, Accion 2 Aliento de Ti, 2013, Mexique, photo. Christine Brault.
- GRACIA Fausto, Accion 1 Una Mirada al Cielo, 2013, photo. Spokey Dokey.
- GRACIA Fausto, Accion 2 Una Mirada al Cielo, 2013, Mexico, photo. Teth Go.
- GRACIA Fausto, Accion 3 Suspiro, 2013.
- GRACIA Fausto, Accion 4 Huellas de ti, 2013.
- GRACIA Fausto, Accion 5 El amor despues del Amor, 2013, Mexique, photo. Fausto Mendez.
- GRACIA Fausto, Accion colectiva, 2013, Argentine, photo. Noel De la Cara.
- GRACIA Fausto, Accion Historias contadas al Mar, 2013, Mexique.
- GRACIA Fausto, Disagregacion, 2013, Mexique, photo. Gonzalo Huerta.
- GRACIA Fausto, Ejercicios de cuerpo, 2013, Chili.
- GRACIA Fausto, Ejercicio de memoria, 2013, Chili, photo. Oscar Concha.
- GRACIA Fausto, Ejercicio n.1, 2013, Chili, photo. Alvaro Pereda Roa.
- GRACIA Fausto, Ejercicio n.1 Linea de Resitencia, 2013, Chili, photo. Alvaro Pereda Roa.
- GRACIA Fausto, Ejercicio n.2 Des-Habitar, 2013, Chili, photo. Alvaro Pereda Roa.
- GRACIA Fausto, Ejercicio n.3 Des-Encuentro, 2013, Chili, photo. Gullermo Moscoso.
- GRACIA Fausto, Festival international de Performance, 2013, Mexico, photo. Ruth Vigueras Bravo.
- GRACIA Fausto, Presencia en el espacio publico, 2013.
- GRACIA Fausto, Proyecto Acciones en casa, 2013, Mexico.
- GRACIA Fausto, Re-Encuentro, 2013, Chili, photo. Milton Afanador Alvarado.
- GRACIA Fausto, Re-Encuentro-Nos, 2013, Chili, photo. Milton Afanador Alvarado.
- GÜNDÜNZ Erdem, Standing Man, 2013, Istanbul.
- HANSEN Ludmila, Target-Echo, 28 juin 2013, Hauptstrasse, Erlan, Allemagne.
- HASLUND Molly, Circles-Drawing upon the Universe, 2013, Roskilde. ph. Matilde Haaning.
- HILL Nate, Porsche, 2013. Curated by Gene McHugh. Interstate Projects, Brooklyn, NYC.
Inspired by a strained relationship with my father who owned a Porsche when I was young, this frenetic 2 hour performance ‘‘confronted’’ the Porsche as if it were my dad. (photo. Oresti Tsonopoulos)
- HILL Nate, Trophy Scarves Reenactments, 2013.
Mission: ‘‘I wear white women for status and power’’
- IDL NO MORE, groupe activiste. Canada. 2013 (photo)
- J&K (Janne Schäfer & Kristine Agergaard), The Cave, 2013, Berlin.
- KEDZIOR Gilivanka, Red Bind-Double Bind #3, 2013.
- KINGSMILL Amy & SNYDER Justin, Corpus Sonos, 2013.
- KINGSMILL Amy, His Kisses, 2013.
- KINGSMILL Amy, Hogtess, 2013.
- LA POCHA NOSTRA, Corpo insurrecto. Psychomagic Actions for a World Gone Wrong, 2013, São Paulo
Açoes Psicomagicas pra um mundo estragado
8th Encuentro of The Hemispheric Institute of Performance and Politics-Cities/Bodies/Action: The Politics of Passion in the Americas. Sao Paulo, Brazil, January 2013.
A performance project by Roberto Sifuentes & Dani D’Emilia, in collaboration with Filipe Espindola & Saea Panamby, Teatro Operaçoes, Regina Muller, Vanessa Bordin, Eduardo de Paula and Ronaldo Zaphas.
Photo: Julio Pantoja, Francisco Soares, Frances Pollitt.
— Performance. Hemispheric Institute Encuentro, 2013. Photo. Alexandre Nunis.
Live art durational performance which dialogue around the possibilities for and models of contemporary North/South artistic and theoritical collaborations. We will build upon our previous experiences in collaboration with Brazilian artists and venues to brainstorm, experiment and developp discussion and art during the Encuentro and share these findings with theorists, artists, and other participants.
http://hemisphericinstitute.org/hemi/en/enc13-performances/item/2004-enc-13-pocha-corpo-insurrecto
- LA POCHA NOSTRA, Corpo Insurrecto 3.0-Serie ‘‘Acciones Psyco-magicas para un mundi desorbitado, MACBA-Museo de Arte Contemporaneo de Barcelona, June 2013.
Con: Guillermo Gomez-Pena & Dani d’Emilia (USA/Mexico/Brasil) collaboration : Camilla Bacellar, Matsue Ono, Lucrecia Masson, Diana Moreno, Maria Eduarda Ramos, Maria Fernanda de Mello Lopes, Myriam Rubio, Beatriz Preciado y el fabuloso equipo del MACBA/PEI. Photos: Andrea Sciuto, Mandi y Facu.
- LA POCHA NOSTRA, Corpo Insurrecto 3.0: The Robo-Proletariat, PAI-The Performance Art Institute, San Francisco, March 2013.
A performance project by Guillermo Gomez-Pena, Roberto Sifuentes & Erica Mott. With La Pocha Nostra Associates: Brittany Chavez, Allison Wyper, Esther Baker Tarpaga, Rico Martin and Marcos Najera.
Producer: Marco Najera. Images: Ami Mathur.
- LA POCHA NOSTRA, La descolonization de Europa, 2013.
- LA POCHA NOSTRA, La Pocha Nostra Live Art Laboratory, 10-24/6/2013, Athènes.
- LA POCHA NOSTRA, Os Barbaros-An extreme Fashion Show, 2013, Brésil.
Public performance at Theatro do Museu do Trabalho, following a 5 day worshop as part of International Brech Symposium & Festival Paco Giratorio Sesc. 20-21 May, Porto Alegre, Brasil. Photos: Bruno Gularte Barreto.
- LE BRICOMTE Léa & HUBAUT Joël, Stone et Charnel Tour, 2013, Le Port, La Réunion.
- LE BRICOMTE Léa, Mandala for birds (tribute to G. Belvedere et R. Filliou), 2013, Calais.
- LYNTON Anadel, To live and to die, 2013, Sao Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013, Sao Paulo. Photo. Lorie Novak.
The central questions of this action are related to responsability and the death or contamination of trees, water, air, earth, etc. The questions are written on little strips of paper. The people can take one or many, or not, they can read them or not, return them to the basket or not, associate them with an old and strange woman who is trying to balance branches, or not.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2026-enc13-lynton-live-die
- LIÈVRE Pascal, Performance, 2013, Galerie ALB.
- LUNDBERG Clara Lee & FÄRJE Lina, Bodies Occupying Luz, 2013, Sao Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013, São Paulo. Photo. Lundberg & Färje.
This project explores guerilla lighting and squatting as urban activist methods and their relations to urban development. We will investigate how to develop tools for communicating with light through movement. In collaboration with the MST movement (Movimento Sem Teto do Centro) and squatters in the neighbourhood Luz, in the center of São Paulo.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2028-enc13-cllundberg-bodies
- MARHAUG Rita, Crepuscular, 2013.
A performance concept developed in colaboration with Benedicte Leinan Clementsen. First performed in Warszawa May 2013 during Beautiful Lies, arranged in the Garden of the University Library.
Duration: 20 minutes.
- MARHAUG Rita, Phoenix from Chapter 3: Mandarin Dust, 2013.
Collaboration with Tracy Kelly
Performed at the British Ceremics Biennial (BCB)
17th of October 2013
Duration 12 mn.
Photo: Richard Launder
- MARHAUG Rita, Play of Elements, 2013.
Marhaug took part in CONTEXT Festival of Ephemeral Art in the village Sokolovsko in Poland, July 2013.
Her contribution was the performance Play of Elements.
Props: Fur coat, high heels shoes, four blue baloons filled with helium in the pond, pair of scissors, 2 wigs, white robe, black robe and fire.
Duration 15 min.
Curator Malgorzata Sady.
Photos: Marcin Polak and Rita Marhaug.
- MARMOLEJO Maria Evelia, May 1st-February 1st, 2013.
Performance at Mandragoras Art Space/Maas NYC. Photo: Agata Domanska.
- MELO Carla, Alegria and Elegy-ah!: Unidos da Praça Roosevelt Requests Passage!, 2013, Sao Paulo.
Public intervention. Hemispheric Institute Encuentro, 2013, Sao Paulo. Photo. Fran Pollitt.
We request passage to delight and agonize; we are the unidos da Praça roosevelt and here we come to tell its stories. With our presence we want to give life to memories buried in the concrete, in the tectonic layers of urban time; with our butoh-samba we want to embody the spirits of those buried by ‘‘revitalizations’’; we want to dream elegies and pay homage to those that public policies have tried to exclude.
Carla Melo is a scholar/performer/director, assistant professor at Arizona State University and co-founder of Corpus Delicti (2003-2008). Her creative work and research center on corporeality, public space and activism. Her writings have been published in The Utopian Impulse in Latin America (volume), e-misférica, TDR, among others. She is currently working on the book on performance, place and grief.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2027-enc13-cmelo-alegria
- MIAO Jiaxin & LEE Heeran, Fund Trust, 2013, Brooklyn, NYC.
Live performance in collaboration with Heeran Lee at Grace Exhibition Space - An action of stashing $1000 cash in the ceiling, sealing it up with plaster, and leaving it hidden as long as the gallery stays open.
- MIAO Jiaxin & LEE Heeran, Red Bull, 2013, Brooklyn, NYC.
- MIAO Jiaxin, BestBuy&Fountain, 2013, Art Fair, The Armory, NYC.
4 hours durational live performance: Selling a TV with 3D in an art fair.
Live performance. photo. Dejrit Ngoenphetthongkham
- MIAO Jiaxin, The Clock, 2013, NYC.
Performance/installation/sound/photo
Living clock consists of workers, money, bread, drink, porn, cigarettes and family portraits. Short breaks are taken every 10 mins. Workers get paid minimum wage every 1 hour.
- SANTAMARIA TORRES Elvira , Double Exposures, 2013, Belfast, photo. Manuel Vason.
- SHAH Dimple B., Awaiting for Golden Goddes, 2013, Inde.
- SHAH Dimple B., Road to Thousand Lights, 2013, Bangalore.
- SHAH Dimple B., The black nigredo-Milk and me, 2013.
- SOARES Andrea, Descarrego, 2013, São Paulo.
Performance. Hemispheric Institute Encuentro, 2013. Photo. Alexei Taylor.
Created from experiences with the Irmandade de Nossa Senhora de Rosarió de Justinópolis/MG, this interactive performance seeks to provoke reflection on the weights and lightnesses that we carry with us, through the lens of popular religion and African ancestry, revealing aspects of the arduous trajectory of Afro-Brazilians.
http://hemisphericinstitute.org/hemi/en/enc13-performances/item/1997-enc13-asoares-descarrego
- SURYODARMO Melati, Dialogue with my sleepless tyrant, 2013.
- SURYODARMO Melati, Sweet Dreams Sweet, 2013.
‘‘Sweet Dreams Sweet’’ involved thirty female performers, wearing white uniformed costumes. The move in pairs, walk, lie down, sit all around the performance area. They dip their feet into blue colored water and blue stain on their white stockings.
This performance simulating the energy of uniformity, where plurality is gradually forced to be reduced. I consider that the change of the social plurality in Indonesia is now going into all means, political, as well as cultural.
Duration : 2 hours. Performed at the ‘‘undisclosed territory #7’’, Studio Plesungan, Karanganyar, Indonesia, 2013.
- SURYODARMO Melati, The Dust, 2013, Karanganyar, Solo, Indonesia.
This work is inspired by the concept of destination, related to situations where we are forced us to hide our own thruths, included the turth of the history of our country. The Dust used bed made out from Iron and brass and 200 gr of golden pigment. Performed at the ‘‘undisclosed territory #7’’ Studio Plesungan, Karanganyar, Solo, Indonesian, 2013.
- TAUMOEPEAU Latal, Endurance Performance Towards the Morning Sun Exhibition, 2013.
- VILLALOBOS Alvaro, Exploration, 2013, Sao Paulo.
Hemispheric Institute Encuentro, 2013, Sao Paulo. Photo. Alvaro Villalobos.
A research exercise on the typology of place and interaction with its inhabitants, asking questions to understand our surroundings. What is most important here? What is significant that might not be obvious? How is a place idealized? What should be changed and how? data collected will be deposited in an urn as a collective daydream to be buried in a public square, the act of storing, rather than displaying.
http://hemisphericinstitute.org/hemi/en/enc13-urban-interventions/item/2025-enc13-villalobos-exploration
- WITTSTOCK Herma Auguste, Afraid, 2013, Stadtbad Wedding, Berlin.
8 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I lie huddled sideways on the floor. I hold my arms to prtect my face.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Angry, 2013, Stadtbad Wedding, Berlin.
7 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
My arms are entangled. I sit cross-legged on the floor. With a distorted face I goggle in the front.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Basic Needs, 2013, Stadtbad Wedding, Berlin.
Basic Needs is structured in three pieces.
Eating
Sleeping
Urinating
As in a mantra I eat, I sleep, I urinate. I repeat this order over and over again.
Eating: I wear a white shirt. I sit at a table. The table is covered with a white cloth. A white plate and a simple glass filled water stand on the table. On the plate are carrots and slices of cucumber. With the left hand I take a carrot and bring it to my mouth. Like a sculpture I stay in this pose.
Sleeping: I wear a white shirt. I lie on the floor, covered with a white cloth. I sleep.
Urinating: I wear a white shirt. I keep it up and put my legs far appart. I urinate on the floor.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Be Ashamed, 2013, Stadtbad Wedding, Berlin.
6 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I stand with the body to the wall, so that I just shown from the back.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Be Psyched, 2013, Stadtbad Wedding, Berlin.
6 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I’m at the corner of the room. In same time I keep the right leg and the right arm up and down. After I keep the left leg and the left arm up and again down. Alternately I do that and I repeat it over and over again.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Calm, 2013, Stadtbad Wedding, Berlin.
7 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I sit in a comfortable pose on the floor. one leg is support, on it is my arm. The other arm hold me up. I look in the distance
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Crying, 2013, Stadtbad Wedding, Berlin.
6 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I hunker down in a corner on the floor. My hands grasp spasmodical at my eyes.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Depressed, 2013, Stadtbad Wedding, Berlin.
9 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I sit on my haunches. I squat in a corner. My arms are rest on my knees, my head rest on my arms.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Guilty, 2013, Stadtbad Wedding, Berlin.
5 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I stand close to a wall, the body tend to the wall. My forehead hit the wall over and over again.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Happy, 2013, Stadtbad Wedding, Berlin.
7 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I stand in front of a wall. My arms are on each other. My head rest on my arms. I smile.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Hope, 2013, Stadtbad Wedding, Berlin.
7 hours/live performance
Emotions is a performance serie in which I perform several days 15 different feelings and situations on the basis of living sculptures.
In all Emotions I’m naked and reside in a complete white tiled room always.
I sit in front of of a wall on the floor on my haunches. The legs lie on the floor, so that the feet touch each other at the bottom. My back is straight. The palms are compressed together in front of my chest.
Photo/video: Marie Zbikowska.
- WITTSTOCK Herma Auguste, Lost, 2013, Kreismuseum Peine, Peine, Allemagne.
I wear a simple white long shirt and sit on the floor in the Indian style sitting. I hold a fresh