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3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky. -
Art, AIDS, SF Tales of the City
Art, AIDS, SF Tales of the City GLEN HELFAND In considering San Francisco of the AIDS years, I keep and the magnetic Rick Jacobsen, who started Kiki recalling an unnerving telephone conversation I had Gallery in 1993 (fig. 00) and organized the incendiary in the early 1990s with a Los Angeles–based editor Sick Joke exhibition to tackle the subject of AIDS humor of a lifestyle magazine. Before we began discussing and irony as a coping strategy (with a logo of the the article I would be writing for her, she asked me HIV-awareness red ribbon slyly restyled as a noose) sympathetically, “So, are there people dying in the (fig. 00). And there was the High Risk book series, with streets there?” Certainly she wasn’t being literal; she dashing, urgent covers designed by Rex Ray (fig. 00). was responding to news coverage of the health cri- Most of all, when I think about that time, I see a city sis, which conjured an image of a city overtaken by on fire with the urgency of grappling with mortal coils, catastrophe. and with the erotic power of seizing a moment as if it This was not the city as I knew it. While indeed were your last. catastrophic things were in effect—there was even The scale of these memories, and this is just a sliver the Loma Prieta earthquake of 1989 to rock the foun- of them, is as elastic as are aspects of the city itself. dations—San Francisco in those years was filled with San Francisco is geographically and demographically a vitality, creative passion, and sense of community compact, which tends to magnify the cultural condi- that I feel lucky to have experienced. -
Blood Rituals from Art to Murder
The Sacrificial Aesthetic: Blood Rituals from Art to Murder Dawn Perlmutter Department of Fine Arts Cheyney University of Pennsylvania Cheyney PA 19319-0200 [email protected] [Ed. note 2/2017: Many of the links in this article have become invalid and been removed] The concept of the “sacrificial esthetic” introduced in Eric Gans’s Chronicle No. 184 entitled “Sacrificing Culture” describes a situation in which aesthetic forms remain sacrificial but have evolved from a necessary feature of social organization to a psychological element of the human condition. Gans concludes that art’s sacrificial esthetic is essentially exhausted as a creative force and argues that the future lies with simulations, virtual realities in which the spectator plays a partially interactive role. His most significant claim is that “This end of the ability of the esthetic to discriminate between the sacrificial and the antisacrificial is not the end of art. On the contrary, it liberates the esthetic from the ethical end of justifying sacrifice.” The consequence of the liberation of the ethical justification of sacrifice is the main concern of this essay. Throughout the history of art we have encountered images of blood, from the representations of wounded animals in the cave paintings of Lascaux through century after century of brutal Biblical images, through history paintings depicting scenes of war, up through the many films of war, horror, and violence. Blood is now off the canvas, off the screen and sometimes literally in your face. It is no coincidence that this substance has intrigued artists throughout history. Blood is fascinating; it simultaneously represents purity and impurity, the sacred and the profane, life and death. -
Bob Flanagan, Sheree Rose and Masochistic Art During the NEA Controversies
BRING THE PAIN: Bob Flanagan, Sheree Rose and Masochistic Art during the NEA Controversies by LAURA MACDONALD BFA., Concordia University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILMENT GF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Art History, Visual Art and Theory UNIVERSITY OF BRITISH COLUMBIA SEPTEMBER 2005 © Laura MacDonald, 2005 Abstract Poet, performance/installation artist, self-proclaimed "supermasochist" and life-long Cystic Fibrosis sufferer, Bob Flanagan and his partner, dominatrix and fellow artist Sheree Rose created art derived from their personal explorations of sadomasochistic sex acts and relationships. This work used the lens of S/M practice to deal with issues of illness, death, gender and sex. Throughout most of their 15 year collaboration (late 1980- early 1996) Flanagan and Rose lived and worked in relative obscurity, their work being circulated mainly in small subcultural circles. It was during the years of controversies surrounding the National Endowment for the Arts (NEA), roughly 1989 to 1997, that Flanagan and Rose experienced unforeseen professional success and fame, propelling them from underground distribution in L.A. to the international art scene. These controversies arose from objections by various rightwing Christian politicians, individuals and groups who felt that the NEA had misused American tax dollars by awarding grants to artists who created and agencies that displayed "obscene" art. Flanagan and Rose were two such artists. This is a case study of the situation of Flanagan and Rose within these controversies, a situation in which there was opportunity, experimentation and heightened awareness despite (or perhaps because of) heated conflicts between opposing sets of ethics, aesthetics and lifestyle. -
Ouch – Pain and Performance Curated by Live Art Development Agency “I
Ouch – Pain and Performance Curated by Live Art Development Agency “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance – the pain artists might cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists whose practices address provocative issues from the lived experiences of illness, to representations of the aging female body, cosmetic surgery, addiction and self harm, animalistic impulses, and treacherous fire stunts, and what can happen when you invite audiences to be complicit in challenging embodied actions. Please note that this screening contains documentation of some historical performances for which the films are of variable quality. This screening also contains strong images, including blood and nudity. With many thanks to all of the featured artists for permission to show their work, to Sheree Rose and Janez Janša, and to Martin O’Brien. Running time 35’ approx. (on loop) Bob Flanagan (USA) Cystic Fibrosis Song 1990’s 1’32” A short film of Bob Flanagan parodying a famous Disney song to convey his experiences of living with Cystic Fibrosis. -
(Un)Disciplined Bodies: Ascetic Transformation in Performance Art
(Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva A Thesis In the Department Of Humanities Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada April, 2014 © Tatiana A. Koroleva, 2014 ABSTRACT (Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva, Ph.D. Concordia University, 2014 This dissertation investigates different modalities of self-transformation enacted in ritualistic performance art by the examination of the work of three contemporary performance artists – Marina Abramović, Linda Montano and Ron Athey. Drawing on theoretical models of ritual, in particular the model of ascetic ritual developed in the works of Gavin Flood and Richard Valantasis, Georges Bataille’s theory of sacrifice, concepts of wounded healing by Laurence J. Kirmayer and Jess Groesbeck, and recent studies of ascetic self-injury in psychiatry and psychoanalysis, I argue that ritualistic performance provides a useful model of the therapy of the body that undermines rigid models of the individual self. Ritualistic performance employs a variety of methods of re-patterning of the dominant standard of individuality and formation of alternative model of the body associated with the ascetic self. In view of significance of the transcendence of the body in the work of these artists I employ a theory of “transformation” to reflect upon performative methodology developed in the artworks of Abramović, Montano, and Athey. iii AKNOWLEDGEMENTS I would like to acknowledge the support and generosity I have received from my academic advisors: Mark Sussman, Tim Clark, and Shaman Hatley. Their work and contributions have been invaluable to the research and writing for this dissertation. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
Hatred of Capitalism Would Be a Much Better Title
"I looked through your magazine and I was repelled by the title, Semiotext(e). It's so dry, you just want to throw it in the trash, which I did. Listen: Hatred of Capitalism would be a much better title. It's stunning. The world is starving for thoughts. If you can think of something, the language will fall into place, but the thought is what's going to do it." —Jack Smith A READER edited by Chris Kraus and Sylvère Lotringer SEMIOTEXT(E) ACKNOWLEDGEMENTS The editors would like to thank all the friends who helped us retype portions of this manuscript: Priyanka Basu, Shannon Durbin, Jim Fletcher, Giovanni Intra, D'Arcy Cook Jones, John Kelsey, Hedi El Kholti, Tessa Laird, Joan Laughlin, Allison Madigsohn, Keith Pirlot, Sara Reich, Steve Shimada, Tom Simpson, Mark Stritzel, Joel Tauber, John Tremblay, and Robert Hardwick Weston Additional editing: Mark Von Schlegell Assistant editors: Shannon Durbin and Tessa Laird Designed at The Royal Academy of Nuts + Bolts, D.O.D. www.TheRoyalAcademy.org We gratefully acknowledge financial assistance in the publication of this book from the California Arts Council. This work, published as part of a program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Cover photo by Mark Borthwick Text at top of back cover from Algeria by Kathy Acker HATRED OF CAPITALISM, A READER. Copyright © 2001 Edited by Chris Kraus and Sylvère Lotringer. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. -
AMELIA G. JONES Robert A
Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice. -
1 Afterword: QUICKSILVER and REVELATIONS
1 Afterword: QUICKSILVER AND REVELATIONS: PERFORMANCE ART AT THE END OF THE 20TH CENTURYα Kristine Stiles In his visionary examination of alienation in everyday life, Henri Lefebvre summoned Baudelaire’s counsel to “artists to confront the everyday – and even if necessary to tear through it to reveal the living spirit enshrouded within, not above, or beyond, but within.”1But Baudelaire, according to Lefebvre, failed to live up to his own charge. Longing to discover the marvelous in the quotidian, the French poet (along with Rimbaud, the Symbolists, and later the Surrealists) ultimately discredited the ordinary, launching “a sustained attack on everyday life which has continued unabated up to the present day.”2 For Lefebvre, the search to discover the extraordinary within the ordinary merely produced a “lining” to everyday life that abandoned daily existence itself, and for him the everyday required sustained and continuous attention. “Even at this very moment,” he wrote in 1947, “action, work, love, thought, the search for truth and beauty are creating certain realities which transcend the transitory nature of the individual. The fact that this assertion has become trivial, that it has been put to use too often - sometimes to the worst kind of ends - does not mean that it has stopped being true.”3 Such a tenacious belief in the insistent truth of ordinary life declared that what is lived has dignity and must be honored. Action in art commenced with this affirmation of life. When performance artists made their bodies and lives the primary medium and means of visual expression, they irrepressibly brought into visual discourse the truth, beauty, and pain of the actual lived circumstances of everyday life. -
Self-Portrait Photography As a Technology of Embodiment Author(S): Amelia Jones Source: Signs, Vol
The "Eternal Return": Self-Portrait Photography as a Technology of Embodiment Author(s): Amelia Jones Source: Signs, Vol. 27, No. 4 (Summer, 2002), pp. 947-978 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/3175940 Accessed: 20/10/2009 00:55 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Signs. http://www.jstor.org Amelia Jones The "Eternal Return": Self-Portrait Photography as a Technology of Embodiment The subject"has no relationto him[/her]self that is not forcedto defer itself by passingthrough the other in the form .. -
Disabilities and Sexualities: Exploring Intersections and Multiplicities
Citation: Das, A (2016) Disabilities and Sexualities: Exploring Intersections and Multiplicities. Graduate Journal of Social Science, 12 (1). ISSN 1572-3763 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/3508/ Document Version: Article (Published Version) Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Sexualities & Disabilities Graduate Journal of Social GJSS Science Volume 12, Issue 1 – February 2016 http://gjss.org Graduate Journal of Social GJSS Science Graduate Journal of Social Science February 2016, Volume 12, Issue 1 Editors: Arpita Das, The Asian-Pacific Resource & Research Centre for Women Remi Joseph-Salisbury, Centre for Ethnicity and Racism Studies, University of Leeds, UK [email protected] Copy Editor: Nadia Hai, Carleton University, Canada Web Editor: Michael En, University of Vienna, Austria Layout & Design Editor: Boka En, University of Vienna, Austria Cover Image: Matt Olson Photography – http://www.gomattolsonphotography.com The Graduate Journal of Social Science (ISSN: 1572-3763) is an open-access online journal focusing on methodological and theoretical issues of interdisciplinary rele- vance.