September/October 2016 Volume 15, Number 5 Inside
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Performance Art
(hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property. -
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Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide. -
Old Furnace Artist Residency: Art Is a Conjunction Jon William Henry James Madison University
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2016 Old Furnace artist residency: Art is a conjunction Jon William Henry James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Fine Arts Commons, and the Sculpture Commons Recommended Citation Henry, Jon William, "Old Furnace artist residency: Art is a conjunction" (2016). Masters Theses. 105. https://commons.lib.jmu.edu/master201019/105 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Old Furnace Artist Residency Jon Henry A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Fine Arts School of Art, Design & Art History April 2016 FACULTY COMMITTEE: Committee Chair : Greg Stewart Committee Members/ Readers: Stephanie Williams Rob Mertens Table of Contents Abstract ............................................................................................................................... ii Intro ..................................................................................................................................... 1 Conceptual Background ...................................................................................................... 8 Pushback .......................................................................................................................... -
Art Analysis
Art Analysis Joseph Beuys 7000 Eichen (7000 Oaks), starting 1982 In 1982 Joseph Beuys began his action/installation of 7000 Private collectors bought the stones, thereby financing the Oaks at the seventh edition of the contemporary art show planting of an oak tree in Kassel. This city is an extremely Documenta (held once every five years in Kassel) and it was symbolic place since it used to be the centre of arms pro- only finished, symbolically, by his son Wenzel at the next duction for all of Germany, a fact which caused it to be razed Documenta in 1987, one year after the artist’s death. to the ground during the Second World War. In reality this is a temporally undefined piece since its dura- Through this work, Beuys speaks of the need for a new and tion is programmed for only as long as the final surviving tree lasting alliance between man and nature but also of the of the 7000 mentioned in the title. Potentially this work could need to eradicate wars and to turn destructive energy into last until the end of the current ecosystem. building for society. On March 16, 1982 Beuys planted the first oak tree in the Today all the oak trees have been planted and the basalt centre of the Friederich Square in Kassel, right in front of the blocks put in place. Friedericianum, the building that traditionally hosts the main At the basis of 7000 Oaks there is a concept of transforma- section of the Documenta show. tion, an aspect that concerns both time, expressed symboli- The action originates from the following system: 7000 prism- cally through the oaks growth, and space, which undergoes shaped blocks of basalt coming from Kassel’s mining area were change as the trees develop. -
Joseph Beuys' Unknown Gastrosophy Author(S)
The extended art of eating: Joseph Beuys' unknown Title gastrosophy Author(s) Lemke, Harald SANSAI : An Environmental Journal for the Global Citation Community (2007), 2: 53-65 Issue Date 2007-03 URL http://hdl.handle.net/2433/108252 Right Type Journal Article Textversion publisher Kyoto University ῍ῌ The extended art of eating: Joseph Beuys’ unknown gastrosophy H6G6A9 L:B@: Abstract: The German artist Joseph Beuys is well known for his notion of “extended art”. This article focuses on Beuys’ lesser known extended “art of eating”, through which we may understand his philosophy of food or gastrosophy. Focusing on three universal food practices and their political and philosophical implications, Beuys presented home cooking as a potential art of living, foodstuffs as art objects, and the ecological rebirth of agriculture as a “social sculpture”. By suggesting that alternative methods of farming and biotechnology are necessary if the global economy and methods of agricultural production are to be run in accordance to principles of social justice and sustainability, Beuysian gastrosophy helped to prepare the humanistic and ecological foundations for Germany’s Die Grünen (Green) party ῌ a party of which Beuys was a founding member. For Beuys, modern industrial society’s transformation depended not solely but essentially on the question of whether real changes could be made in agricultural production, our consumption patterns and, ultimately, in the way we eat. This “way” is portrayed by Beuys’ extended art of eating as an ethically or gastrosophically correct everyday cuisine. Keywords: “der erweiterte Kunstbegriff” (extended notion of art), philosophy of food, aesthetics, “eat art”, Joseph Beuys, environmental ethics Introduction Any attempt to discuss a philosophy of food ῌ or “gastrosophy” ῌ must start with the theoretical challenge of a relatively new discipline in Western philosophy, namely food ethics. -
Project Report
Caroline Wendling / Oaks & Amity / 2014-2015 Project Report Oaks & Amity Caroline Wendling PROJECT REPORT 1. Introduction 2. The Artist and Shadow Curator Caroline Wendling Lotte Juul Petersen 3. The Project and Work Context The Project Events + Research 4. Main Event The White Wood Planting 5. Shadow Curator Report 6. Marketing Printed Material and Mail/Email Shots Advertising Online Marketing 7. Education / Outreach Programme Artist Talk The Gordon Schools Community Outreach Attendance Numbers 8. Media 9. Comments / Reflections / Evaluation Evaluation 10. Publication 11. Funding and Thanks 12. Appendix Oaks and Amity: Call for Proposal Action Plan for Oaks & Amity How to Plant a Tree Of Trees and Time, Alan Macpherson Notes from Kassel, Elisabetta Rattalino Project Report: Caroline Wendling, Oaks & Amity Oaks & Amity Caroline Wendling 1. Introduction Artist Caroline Wendling joined Deveron Arts in the autumn of 2014 to develop her project, Oaks & Amity; a project developed in response to the occasion of the centenary of the outbreak of World War One. It is a project that explored the link between ecology and art, between friendship and cooperation, precariousness and peace, one hundred years after the First World War. Through her investigation into the local history of both the First and Second World Wars, Caroline became particularly interested in the stories of local conscientious objectors and pacifists. Caroline worked with a multitude of local groups, including the Gordon Schools, Forestry Commission and war veterans, and produced a series of events exploring notions of peace and friendship in post war Europe. The major output of the project was the planting of a symbolic White Wood just outside Huntly. -
REMEDIATIONS. Art in Second Life"
Hz #11 - "REMEDIATIONS. Art in Second Life" HOME ARTICLES NET GALLERY --- --- REMEDIATIONS. Art in Second Life Domenico Quaranta Second Life [1]: hardly a day goes by without it being talked about. The media success of the virtual world launched in 2003 by the Californian company Linden Labs appears to be on a par only with its user popularity (around 10 million residents as I write) and commercial success. These three things are obviously closely connected: people flock to SL, companies follow, the media talks about it and this attracts new people and new companies. The hype – which strangely enough, as activist and media critic Geert Lovink [2] notes, is fed by "old school broadcast and print media and the wannabe cool corporations" is starting to show its first cracks [3], and while on the one hand it has served to make concepts like "avatar", "virtual worlds" and "social networks" popular, on the other, with its uncritical enthusiasm and superficiality, it has created false expectations that risk leading to an equally uncritical condemnation of a context that does have its problems, but is undeniably rich in potential. It's all true: the habitual users of SL represent a ludicrously tiny percentage of the 10 million curious visitors who set up an account for a single visit, without ever following it up; the only returns on the million dollar investments made by the big companies have been in terms of publicity, while their virtual headquarters are usually deserted; SL's graphic engine and scripting language are vastly inferior to those of other virtual worlds; its world is built around a trashy, kitsch aesthetic; the prevalent image is that of "a mega milkshake of pop culture" [4], and life revolves mainly around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption. -
New Practices, New Pedagogies
INNOVATIONS IN ART AND DESIGN NEW PRACTICES NEW PEDAGOGIES a reader EDITED BY MALCOLM MILES SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Printed in Copyright © 2004 …… All rights reserved. No part of this publication of the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, by photocopying, recording or otherwise, without written prior permission from the publishers. Although all care is taken to ensure the integrity and quality of this publication and the information herein, no responsibility is assumed by the publishers nor the authors for any damage to properly or persons as a result of operation or use of this publication and/or the information contained herein. www ISBN ISSN The European League of Institutes of the Arts - ELIA - is an independent organisation of approximately 350 major arts education and training institutions representing the subject disciplines of Architecture, Dance, Design, Media Arts, Fine Art, Music and Theatre from over 45 countries. ELIA represents deans, directors, administrators, artists, teachers and students in the arts in Europe. ELIA is very grateful for support from, among others, The European Community for the support in the budget line 'Support to organisations who promote European culture' and the Dutch Ministry of Education, Culture and Science Published by SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Supported by the European Commission, Socrates Thematic Network ‘Innovation in higher arts education -
Installation Art and Experience
TRODUCTION INSTALLATION ART AND EXPERIENCE What is installation art? 'Installation art' is a term that loosely refers to the type of art into which the viewer physically enters, and which is often described as 'theatrical', 'immersive' or 'experiential'. However, the sheer diversity in terms of appearance, content and scope of the work produced today under this name, and the freedom with which the term is used, almost preclude it from having any meaning. The word 'installation' has now expanded to describe any arrangement of objects in any given space, to the point where it can happily be applied even to a conventional display of paintings on a wall. But there is a fine line between an installation of art and installation art. This ambiguity has been present since the terms first came into use in the 1960s. During this decade, the word 'installation' was employed by art magazines to describe the way in which an exhibition was arranged. The photographic documentation of this arrangement was termed an 'installation shot', and this gave rise to the use of the word for works that used the whole space as 'installation art'. Since then, the distinction between an installation of works of art and 'installation art' proper has become increasingly blurred. What both terms have in common is a desire to heighten the viewer's awareness of how objects are positioned (installed) in a space, and of our bodily response to this. However, there are also important differences. An installation of art is secondary in importance to the individual works it contains, while in a work of installation art, the space, and the ensemble of elements within it, are regarded in their entirety as a singular entity. -
Searching for Eur-‐Asia -‐ the Journeys of Joseph Beuys And
Searching for Eur-Asia - The Journeys of Joseph Beuys and Nam June Paik Towards the Unity of Europe and Asia Shinya Watanabe An imaginary division between "East" and "West" was created in European cultural history, mainly to make a distinction between European Christianity and the alien cultures to its east. Even Emmanuel Levinas, known as a philosopher of the “other” in post-war Europe, was disdainful of Asia and Buddhism, and considered Europe to be central. Both Europe and Asia can exist in relation with what is to their east and west; neither can exist by itself. However, once a geographical and cultural entity is named “Europe” and “Asia,” or “West” and “East,” this creates an impression that such imaginary entities exist –, not in the relationship it has with its counterpart, but by itself. Containing Europe and Asia, Eurasia is one continuous mass of land. The idea of a fixed division between Europe and Asia has made it difficult for many to understand that East and West share historical and cultural roots in the Eurasian land mass. When the process of capturing the world via cogito, which originated in Christianity and prepared the way for European Modernity, was proven to be contradictory, contemporary art needed to reconsider the roots of modernity in order to find alternatives. So far, the vocabulary of contemporary art has addressed how to conceptually deal with the symbols created by the contradictions of modernity, but in the 21st century, the act of going back to the origin of such contradictions will be the basis for a new vocabulary. -
Joseph Beuys 1 Joseph Beuys
Joseph Beuys 1 Joseph Beuys Joseph Beuys Offset poster for Beuys' 1974 US lecture-series "Energy Plan for the Western Man", organised by Ronald Feldman Gallery - Courtesy Ronald Feldman Fine Arts, New York Born May 12, 1921Krefeld, Germany Died January 23, 1986 (aged 64)Düsseldorf Nationality German Field Performances, sculpture, visual art, aesthetics, social philosophy Training Kunstakademie Düsseldorf Joseph Beuys (German pronunciation: [ˈjoːzɛf ˈbɔʏs]; May 12, 1921, Krefeld – January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century.[1] [2] Biography Childhood and early life in the Third Reich (1921-1941) Joseph Beuys was the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). The parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on May 12, 1921. In autumn of that year the family moved to Kleve, an industrial town in the Lower Rhine region of Germany, close to the Dutch border. There, Joseph attended primary school (Katholische Volksschule) and secondary/high- school (Staatliches Gymnasium Cleve, now the Freiherr-vom-Stein-Gymnasium). His teachers considered him to have a talent for drawing; he also took piano- and cello lessons. -
A SMALL MAP PIECE of PERFORMANCE ART in CHINA a Study Room Guide by Adele Tan June 2008
A SMALL MAP PIECE OF PERFORMANCE ART IN CHINA A study room guide by Adele Tan June 2008 Let me begin with a fruit. The fruit in this instance is Grapefruit, Yoko Ono´s visionary 1964 book of art- making instructions for everyone. The Chinese word for fruit is guo （果）and like the English word it too means the result or reward of work or activity such as in the word jie guo ( 结果 ). So how does one begin to look at performance art in China in the selection of material available in the Live Art Development Agency library and make it a productive (fruitful) endeavour without taking the exploratory fun out of it? The history of performance art in China is still in the making and so we might do well not to make it too conclusive. With this in mind, we could perhaps play a version of Yoko Ono’s Map Piece from the summer of 1962… Draw an imaginary map. ●Carla Kirkwood, Chinese Performance Artists - Redrawing the Map of Chinese Culture, 2004, A0119 / P0519 ●Li Wei, Li Wei, 2005, P0191 ●Li Wei, Performance Video Works 2001–2004, D0113 ● Zhu Ming, 1994-2006 Art Works, 2007, P089 ●Zhu Ming, Performance Art Works, 1994-2004, 2004, D0265 ●Zhu Ming, Resume, Articles and Major Works – pictures, D0103 ●Zhu Ming, Unknown Area, July 2003, D0104 Kirkwood’s essay in TheatreForum provides an easy entry point into the performance art scene in China since its initial flourish in the late 1980s. She gives a concise history of its development over the past two decades but makes clear to us that from the get-go, performance art is to be taken in China as socio- politically engaged, critically antagonistic and at the forefront of experimental contemporary Chinese art by virtue of a habitual mode of operating in the margins.