Performancekunst

Marina Abramovics selvbiografi ”At gå gennem mure” er en stærk og dybt fascinerede fortælling af en kunstner, der gennem hele sit liv frygtløst har udforsket og skubbet kroppens og sindets grænser. Marina Abramovic er performancekunstens superstjerne og blev for alvor verdensberømt med sin over 700-timers performance, ”The Artist Is Present” på kunstmuseet MoMA i New York i 2010, hvor mere end 750.000 personer stod i kø for at kunne komme til at møde hende ansigt til ansigt. Fra 17. juni til 22. oktober 2017 viser kunstmuseet Louisiana i Humlebæk udstillingen The Cleaner, der er den første store retrospektive præsentation af Marina Abramovics arbejde i Europa.

Despite its large and growing popularity — to say nothing of its near-ubiquity in the world’s art scenes and international exhibitions of contemporary art — installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination.In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences.The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form.Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.

Dette er 13. udgave af kunstårbogen – 101 kunstnere – der præsenterer værker af danske kunstnere på et højt kvalitetsniveau og dermed illustrerer, hvor udbredt billedkunsten er i dagens Danmark.Bogens vigtigste formål er at vise den mangfoldighed, der eksisterer i dansk kunst. Man kan finde god kunst overalt, bogstaveligt talt fra Gedser til Skagen og i alle mulige afskygninger. God kunst skabt af mennesker, der brænder for sagen, og som konstantarbejder målrettet på at blive bedre. Det er disse kunstnere, denne bog gerne vil hylde.Bogen er til alle – galleriejeren, bestyrelsesmedlemmet i en kunstforening og den almindelig kunstinteresserede borger – der vil lære kunsttalenter i alle aldre og fra alle dele af landet at kende og for at se, om der er noget, der fanger.Bogens redaktør, Tom Jørgensen, er kunsthistoriker og anmelder ved Kunstavisen og Jyllands-Posten samt kunstformidler, forfatter og foredragsholder.

I essaysamlingen Hvor kunst hører til besøger den amerikanske forfatter og filminstruktør Chris Kraus en række udstillinger, kunstnere, værker, fester, kyster og byer i en afsøgning af, hvad og hvor kunst kan være. Hvor kunst hører til er en invitation til snakke med hinanden om kunsten, tænke over den og spørge til den. Det er en bog, der betragter kunstverdenen som den pengemaskine, den (også) er, uden at afskrive den og som samtidig insisterer på håbet om, at kunsten stadigvæk spiller en rolle for vores fællesskaber. Ikke for de få, men for os alle sammen.Bogen er oversat af Nanna Friis og Emma Holten.”Det er muligt at være vildt intelligent og samtidig ikke have nogen viden. Denne tilstand – der som regel hænger sammen med ungdom eller forlænget pubertet – resulterer tit i kedsomhed, den eksistensielle stamfader til stort set alle væsentlige kunst- og kulturbevægelser.”

Drawn from private collections around the world, this is the first comprehensive collection of the Saturn label's printed record covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels decorated by Sun Ra and members of his Arkestra.

A searing critique of participatory art by an iconoclastic historian.

♥ ♥ ♥ ♥ ♥Politiken "Ekstraordinær" Politiken "Fascinerende" Guardian Irske Sara Baume tog læserne med storm i sin umådeligt smukke debutroman vælde vokse vakle visne, og i hendes anden roman lever hun op til forventningerne, med en stadig sart og seismografisk, men denne gang også nærmest humoristisk-sarkastisk skrivestil. Linje trådt af trin er en roman om kreativitet og depression; en ganske ung kunsthistoriker opholder sig i sin afdøde mormors hus og prøver at finde ro til at finde ud af, hvad der er op og ned i tilværelsen.Hele tiden tester hun sin hukommelse ved at remse kunstværker af op, ligesom hun holder sig beskæftiget med bl.a. at fotografere døde dyr, alt imens hun undviger fra at se sig selv i spejlet, især i den mentale betydning.

Vinteren 1993. En ung europæer lander i New York og opsøger det legendariske performanceteater The Wooster Group i Soho for at indtage scenen og blive den ny Willem Dafoe. Hans fortid er sløret, men sammen med sit rockband har han få år inden tilsyneladende medvirket til Sovjetunionens sammenbrud. Nu er han pludselig her, har ingen penge og intet sted at bo. Alt, hvad han har, er en liste med telefonnumre og adresser, nogen har givet ham. Han ringer på et tilfældigt sted og bliver lukket ind i et velourbeklædt parallelunivers af et sært blonderet væsen i silkepyjamas. Fra det øjeblik spaltes romanen og verden i to: mareridt og vision, kunst og liv, regler og kaos, sex og død. The Monster af Madame Nielsen er en New York-gyser, en vision om det, der skal komme.

Born in 1972 in Osaka, Japan, Chiharu Shiota has been living and working in Berlin since 1997.

Michael Elmgreen (b. 1961, Copenhagen) and Ingar Dragset (b.1969, Trondheim) are based in Berlin and have worked together as an artist duo since 1995. They have held solo shows worldwide at institutions including the Tate Modern and the Victoria & Albert Museum in London, UCCA Center for Contemporary Art in Beijing, the National Gallery of Denmark in Copenhagen, Fondazione Prada in Milan, and Centre Pompidou in Metz. They have been awarded several prizes, including the 2002 Preis der Nationalgalerie in Berlin and a Special Mention in 2009 for their exhibition The Collectors in the Danish and the Nordic Pavilions at the 53rd Venice Biennale.

¿ Documentation of a global school project¿ Participatory idea initiated by the artist¿ The book serves as an archive and geographical orientation

"Combining new work with material adapted from his acclaimed performances, Keckler confirms his storytelling mastery, revealing still more of himself on the page. A celebration of the ridiculousness and a tour through stations of longing, this diverse collection will thrill devotees and new fans alike"--Back cover.

Hoping to discover the truth about their origins, the last clan of free women liberate the ancient journal of their ancestor, Nebia. Besieged by armies and running out of time, they seek to unravel an age-old mystery they hope will ensure freedom for their people for ages to come. That hope may well lie on the slender shoulders of a young girl with a secret lineage and a sweet tooth, who will now be forced to do a lot of growing up in a very short amount of time.

A family bent on revenge travels to a foreign land to seek the aid of a dragon but discover that a knight has slain it and is still trapped beneath the carcass. In exchange for their help, Sir Ekinroy vows to confront the man who murdered their loved ones. Now he must not only find a way to slay a well-protected foe but also track down his wayward manservant who stole the magical dragon's tooth, for only by presenting the tooth to his king will he again be accepted among his people.

Kann Kunst die Welt zu einem besseren Ort machen? Zenita Komad möchte mit ihrer Arbeit genau das. Sie wendet sich mit außergewöhnlichen grafischen und skulpturalen Werken, Objektbildern, Installationen und Inszenierungen, mit klaren oder rätselhaften, kraftvollen, tiefgründigen, poetischen und oft auch witzigen Botschaften an die Menschen, um auf der Basis einer Verständigung zwischen unterschiedlichen Überzeugungen, Weltanschauungen und interreligiöser Spiritualität für eine gemeinsame Verantwortung für die Welt zu werben - denn alles steht mit allem in Verbindung.NIE WIEDER KRIEG! (Ausstellung im KULTUMuseum Graz, 3.2. bis 26.5. 2024) DER KRIEG IST AUS! (Ausstellung im MMKK Klagenfurt, 8.2. bis 19.5.2024)DIE WAFFEN NIEDER! (Installation, Land-Art-Projekt Die Grube/The Pit von Peter Noever, Breitenbrunn bis September 2024)So lauten drei aktuelle Groß-Projekte von Komad zum Thema Frieden und Gerechtigkeit. Sie laufen gut drei Monate lang parallel in drei Bundesländern. Open-Air-Installationen machen die titelgebenden Imperative aus der Vogelperspektive lesbar und verbinden die Projekte zu einer Trilogie.Die Monografie zeigt sehr aktuelle Werke und solche aus den vergangenen Jahrzehnten, ergänzt dazu eine ausführliche Einführung von Johannes Rauchenberger, ein Gespräch der Künstlerin mit Chris­tine Wetzlinger-Grundnig, ein vollständiges Verzeichnis der Arbeiten sowie die Vita von Zenita Komad.

This book strikes at the heart of musical performance with a study of the relationship between music and rhetoric which was much remarked upon during the Renaissance and Baroque periods. The ideas of the classical rhetoric books are traced through the Tudor classroom to the late eighteenth century. Concentrating on performance techniques that aid the communication of musical ideas to an audience, historical source material is used to demonstrate how to hold the attention of the listener and at the same time move and delight them. Quotations from the rhetoric manuals, Shakespeare and the Bible are complemented by over one hundred musical examples, drawn mainly from the seventeenth and eighteenth centuries, illustrating the connection between speaking and playing in the rhetorical style.

Accessible to a wide range of readers, from artists to commuters to nature lovers and beyond, who wish to expand their understanding of walking.

an Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called 'situations', he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated colour from the two-dimensionality of painting. The catalogue places emphasis on looking at Flavin's oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists - as in the work untitled.Text: Text: Aden Kumler, Simon Baier, Elena Degen, Jules Pelta Feldman, Josef Helfenstein, Aden Kumler, Daniel Kurjakovic, Arthur Fink, Olga Osadtschy, Mechtild Widrich.

Gonzalez-Foerster works experimentally. Engaging with the exhibition as a medium, her spatial inventions and investigations probe the notion of display, as well as how an image or scene is experienced. Drawing on wide-ranging references from music, literature, film, architecture and pop culture, the artist creates densely layered environments with the ability to transport viewers into alternative narrative, temporal and psychological dimensions.Alienarium 5 is a speculative environment that invites us to imagine possible encounters with extraterrestrials. The catalogue is a culmination of her decades-long interest in science fiction and continued research into deep space and alien life. Conceived site-specifically for Serpentine, the exhibition will feature almost entirely new work that engages both the gallery's internal and external space.Ed.: Tatiana Kontou, Hans Ulrich Obrist, Dominique Gonzalez-Foerster.

¿ First appointment to the Pina Bausch Professorship at the Folkwang University of the Arts¿ Experimental Performance Art¿ Marina Abramovi¿'s interdisciplinary project

How We Hold: Rehearsals in Art and Social Change is an invitation to arts educators, facilitators, organisers and those who are interested in working collectively with others, who want to use creative practice to work towards change, through personal and social transformation. Designed to be used both within organisations and as a tool to critique them, How We Hold supports dissenting and oppositional conversations, and offers pragmatic challenges to neoliberal and colonial models of education and administration still found in museums, arts organisations and other institutions today.Ed.: Layla Gatens and Jemma Egan.

BEING WORK is a collection of essays by dance and theater artists that offer access to varied experiences of performing in live exhibitions. The authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums, galleries and art fairs, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal, human perspectives on what it feels like to perform in visual arts spaces, BEING WORK asks its audience how a performer's labor is perceived and valued in these spaces, and what new possibilities might unfurl within the, at times fraught, coexistence of the two mediums.Contributors include: Mireya Lucio writing on being the work of Marina Abramovic, Casey Brown being the work of Maria Hassabi, Jessica Emmanuel being the work of Xu Zhen, Kestrel Leah being the work of Julien Previeux, Allie Hankins being the work of Gordon Hall, effie bowen being the work of Narcissister, Dorothy Dubrule being the work of Tino Sehgal and Paul Hamilton being the work of Bruce Nauman. Illustrations by Eileen Echikson accompany each essay to draw out the many thoughts, interactions, sensations and associations that encompass the experiences described.

Tremulations präsentiert Objekte aus dem Archiv des Swedenborg-Hauses sowie Schriften und Kunstwerke u.a. von Marcel Duchamp, Meret Oppenheim, Yayoi Kusama und Apichatpong Weerasethakul. Die Publikation stellt die Orthodoxien des institutionellen Kuratierens in Frage und nimmt dabei wenig Rücksicht auf die traditionellen Formen der Kategorisierung der Welt. Sie kombiniert Elemente aus dem Archiv des Swedenborg-Hauses, darunter die Ohrknochen des Mystikers Emanuel Swedenborg, mit Werken der modernen und zeitgenössischen Kunst und Literatur. Der Katalog ist nach Swedenborgs "Neun Regeln der Tremulation" gegliedert und wird in Kapiteln unterteilt, die sich im physischen, zeitlichen und virtuellen Raum des Swedenborg-Hauses manifestieren. Swedenborgs Regeln sind ein Schema, um historische und zeitgenössische Formen der Verbreitung und Übertragung zu erforschen: Spiegelbilder, Träume, Reflexionen, divinatorische Visionen, Phantasien, Erinnerungen, Prophezeiungen und Halluzinationen sowie filmische Projektionsformen, die sich älterer Vermittlungstechnologien als Fernsehen und Video bedienen, sowie postkinematische und virtuelle Formen: The Bridge von Mark Leckey; Hilma af Klint: The Temple und It will End in Stars von Nathalie Djurberg & Hans Berg.

This Element focuses on Sleep No More, the iconic immersive theatre production of Macbeth produced by the British company Punchdrunk. Sleep No More and the Discourses of Shakespeare Performance frames this Shakespeare adaptation as part of a system of ghostly citationality through which audiences understand the significance of the past in performance today. Moreover, despite its seemingly analog format, Sleep No More is discussed as a valuable site for media research. And the concept of 'uncanny spectatorship' is introduced to describe audience practice in Sleep No More and other performance contexts. Ultimately, this Element offers readers the opportunity to explore a set of concepts that are significant to the study of Shakespeare in performance and to consider the ways in which audiences interact with bodies, spaces, text, and media in Sleep No More and other immersive experiences.

Unleashing Her Creativity: Women Embracing the ArtsIn a world where female expression was often stifled, this book illuminates the journey of women who dared to break the chains of convention. Discover the stories of trailblazing artists, writers, musicians, and performers who turned adversity into art, inspiring others to embrace their creative potential. Empowering Narratives: Dive into narratives that celebrate resilience and the power of creativity in the face of adversity.Inspiration for All: Explore the lives of diverse female artists whose work transcends boundaries and empowers others to follow their passions.Unveiling Untold Stories: Delve into untold stories of triumph and the courage it took for these women to pursue their artistic endeavors.Cultural Impact: Learn about how these remarkable women reshaped culture and paved the way for future generations.Creative Transformation: Witness the transformative journey these women undertook to channel their creativity into works that resonate across time.Breaking Barriers: Witness the audacity to challenge norms and shatter stereotypes, leaving an indelible mark on the artistic landscape.Legacy of Influence: Understand the lasting impact these women have had on art, society, and the very fabric of creative expression.Embrace the power of creativity and join these phenomenal women on their journey of self-discovery and artistic revolution. Unleash your own creativity and be part of a movement that celebrates the indomitable spirit of women everywhere. Get your copy now and step into a world where creativity knows no bounds!

Mona Hatoum gilt als eine der einflussreichen Künstlerinnen ihrer Generation. Im Zentrum ihrer Arbeit steht die Auseinandersetzung mit Vertreibung und Ausgrenzung. Das Buch versammelt Schlüsselwerke der Künstlerin, von ihren Performances der 1980er Jahre bis hin zu neuen Skulpturen und Installationen.Text: Marius Babias, Kathrin Becker, Tamar Garb, Mona Hatoum.

From themed entertainment to business and beyond, anyone involved in leading creative teams will benefit from Kile's extensive expertise. He has produced events around the world for over thirty years, from Stanford and Harvard alumni campaigns to stadium-sized spectacles, and here he shares techniques for working with people to create impactful experiences, ensuring a powerful, emotional connection between story and audience.Creative Catalyst walks you through ideation and concept design to final implementation, learning how to inspire creativity and production...and have fun along the way.

Volume 2 of James Byar's "1/2 An Autobiography" adds significantly to the existing scholarship on the life and work of the artist and completes a lasting monograph of his complex oeuvre. This volume shows the full scope of the artist's work with 125 sculptures, costumes, performable paper works, films, ink paintings, correspondence, ephemera, live performances, documents and previously unpublished material.Text: Magalí Arriola, Peter Eleey, Ana Janevski, Shinobu Sakagami and Pan Wendt. Conversation between Jocelyn Miller, Robert Landsman and Sandra Lang-Landsman,

Renate Bertlmann ist eine der wesentlichen Protagonistinnen der österreichischen feministischen Avantgarde. Dieser Band gibt einen Überblick über das ironische und provokative Oeuvre dieser österreichischen Künstlerin. Bertlmanns radikale, ironisch-provokative Arbeiten unterwandern gesellschaftliche Zuschreibungen und Stereotype von Geschlecht, Weiblichkeit und Männlichkeit.Text: Renate Bertlmann, Andrea Kopranovic, Rebekka Reuter, Gabriele Schor, Felicitas Thun-Hohenstein.