Performancekunst

Die erste Monographie zu einer in Deutschland bislang wenig beachteten Künstlerin. Enthält umfangreiches Bildmaterial aus Raspés Archiv, Film-Stills sowie Installationsansichten.Text: Kari Rittenbach, Emily LaBarge, Anna Gritz, Eva Wilson.

Ugo Rondinone's 2022 exhibition the water is a poem unwritten by the air / no. the earth is a poem unwritten by the fire at the Petit Palais in Paris explores the theme of transformation. Ugo Rondinone presents three ensembles of sculptures and a monumental video installation. Earth, sky, air, water and fire are invoked in the fullness of their spiritual dimension. Under the museum's painted ceilings, the first ensemble welcomes visitors in a farandole of suspended bodies painted in a clouded sky camouflage, underlining the ephemeral melding of air and water. A second ensemble is composed of seated sculptures of dancers at rest made from a blend of wax and earth collected from seven continents. The centerpiece artwork titled burn to shine, is a film installation presented in a monumental charred wood cylinder. The artwork depicts bodies coming together throughout movement, with dancers and musicians gathered around a fire in the desert from sunset to sunrise. In echo with John Giorno's poem titled You Got To Burn To Shine. This catalogue is a unique document of the dialogue between Rondinone's works confronted with the museum's architecture and its collections.UGO RONDINONE (*1964, Brunnen, Switzerland) is recognized as one of the major voices of his generation, an artist who composes searing meditations on nature and the human condition while establishing an organic formal vocabulary in sculpture, painting, video, and performance. The New York-based artist borrows from ancient and modern cultural sources; his works exude pathos and humor, going straight to the heart of the most pressing issues of our time.

John Sanborn became one of the most prominent protagonistsof the American video art scene in the 1970s and1980s. His work ranges from the beginnings of experimentalvideo art to MTV music videos, interactive art, and digitalmedia art. Consulting with Apple and Adobe, he contributedto shaping the possibilities of new image toolsand was instrumental to the dawning of the digital imagerevolution in California.This monograph brings together a collection of works thatspans over four decades of exploring sound, music, culturalidentity, memory, mythologies, and the human compulsionto tell stories. Essays by video art experts, contributions byhis friends and companions, and a conversation betweenSanborn and acclaimed media artist Dara Birnbaumexplore the tension between mass media and contemporaryart. Sanborn himself traces the unique arc of his careerand talks about a journey that took him from museumsand alternative spaces to television networks, Hollywoodand Silicon Valley before returning to the art world. Fewother artists working with media can claim to have delvedinto so many visual territories.JOHN SANBORN (*1954, Huntington, New York) is a key memberof the second wave of American video artists. His body of workspans the early days of experimental video art in the 1970sthrough the heyday of MTV music/videos and interactive artto the digital media art of today. His work has been exhibitedon television, as video installations, video games, Internetexperiences and in live performances such as God in 3 Persons,a collaboration with The Residents, at MoMA in New York (2020).Sanborn lives and works in Berkeley, California.

Walking as Artistic Practice lays out foundational information about the history of walking and its development as an artistic practice, making it accessible to readers of all backgrounds. It also provides guidance on how to analyze and discuss walking artworks, with vocabulary support, over three hundred examples, and over seventy-five exercises. The chapters offer a variety of topical approaches, allowing readers and instructors to craft an experience most suited to their interests and needs. Themes include observational and sensory experience, leading versus following, who walks where (identity and positionality), rituals, place, activism, connections to drawing, and embodiment. Appendices include information on documentation, sample syllabi, readings and resources, brainstorming tips, community engagement guidance, and tips for travel-based study. Instructors will appreciate this text because it has so many resources to direct students to when they have questions about analysis, history, community engagement, or documentation approaches. It's the type of book that students will hang onto long after the course is done because it is so practical and useful.

Platforms of Reality is a multi-layered analysis and interpretationof Heaven Baek's work, which explores how individualsand society interact both in reality and on stage.It ranges from the artist's early works to her most recentpractice, in which she questions the reality of video timelines,instant realities, and collective memories. Her wellscriptedperformances are spatial visualizations of theflood of real information that has somehow lost its purposeand meaning.The book is divided into four chapters, each exploring adifferent sense of reality and bringing together her artisticapproaches. The metaphor of the platform can beimagined as stages for her work, where trains depart fromdifferent tracks with different destinations, crossing pathsas they meet continuously. Baek attempts to permeatesocial collectives with her research and artistic methods-from drawing to video to installation.HEAVEN BAEK (*1984, Busan, South Korea) studied Media Arts in Melbourne, and received her Master's degree from the Glasgow School of Art. She uses staged reality to bring her videos and installations to fruition, magnifying mechanisms of society and social interaction. She lives and works in Seoul and Berlin.

Die vorliegende Publikation begleitet die erste Einzelausstellung der international renommierten Künstlerin Mercedes Azpilicueta (*1981 in La Plata, Argentinien) in Deutschland. Das Werk der in Amsterdam lebenden Künstlerin umfasst Performance, Skulptur, Zeichnung, Textilarbeiten, Videokunst und Installation. Darin kommen queere, feministische oder marginalisierte Figuren zu Wort. In fließenden, assoziativen Verbindungen konterkariert sie starre Geschichtsnarrative und versucht, diese zu dekonstruieren und Raum für affektive und abweichende Stimmen zu schaffen. Ihre Arbeiten sind inspiriert von spekulativer und fiktionaler lateinamerikanischer Literatur, (neo)barocker Kunstgeschichte, Dekolonialismus, zeitgenössischer Populärkultur und verschiedenen Aspekten der Handwerkstechnik und der Textilproduktion.Mercedes Azpilicuetas jüngste künstlerische Forschung konzentriert sich auf die Erkundung der Identitäten von Figuren aus der Vergangenheit, die sich außerhalb des Gewöhnlichen bewegten. Anhand von Bildern Artemisia Gentileschis, einer Nacherzählung der obskuren Geschichte vom ¿Nonnen-Leutnant¿, welche*r im 17. Jahrhundert lebte, barocken Kleidungsstücken wie beispielsweise der Schamkapsel sowie neobarocken Gespenstern rekonstruiert Azpilicueta die Vergangenheit, indem sie deren Anachronismus wiederherstellt und Geschichten mit Imagination und Erinnerung belebt. In ihren Arbeiten verbindet sie auf diese Weise barocke Stilelemente mit dem schillernden, queeren Nachtleben, der Bondage-Kultur und anderen Aspekten, die sich mit der Geschlechtsidentität und den dem Körper auferlegten Zwängen befassen.

Die Publikation begleitet die erste Mid-Career-Retrospektive einer Künstlerin, die es versteht, visuell zu verführen und zugleich inhaltlich zu berühren. Dabei nutzt sie die Wirkungsmacht von inhaltlich aufgeladenen Farben, Licht und Materialien, um globale Geschichte(n) aus neuen Perspektiven zu erzählen.Text: Julie Pellegrin, Uta Ruhkamp, Veronika Mehlhart, Dino Steinhof.

Una mujer camina a solas por un espacio urbano mientras los transeúntes son testigos de su paso por la ciudad. La cámara, los cuerpos, también lo son. Precisamente de esos cuerpos, esa cámara, ese ojo hablan los fotogramas reunidos en este libro. Salir a la calle y sacar el cuerpo de uno a pasear suena sencillo, pero todo se juega allí. Los gestos de Paola Martínez Fiterre cuestionan los límites entre lo público y lo privado, la vida biológica y la vida social, lo vulnerable y lo inmune. ¿Cómo reaccionar ante la presencia de una mujer vestida con almohadillas sanitarias o "íntimas"? ¿Puede convertirse una en voyeur o aceptar una redefinición de lo que se considera público y privado? Precisamente de esos cuerpos, esa cámara, ese ojo hablan los fotogramas reunidos en este libro, donde se testimonian las performances Pensamientos sobre el silencio (Agua) (2018), Pensamientos sobre el silencio (El Museo del Barrio) (2019) y Líos de falda (2019) de Paola Martínez Fiterre (La Habana, 1992). Exestudiante de la Universidad de las Artes (ISA) en La Habana y graduada por el International Center of Photography en Nueva York (2019), Paola explora prácticas fotográficas expandidas a través de la fotografía analógica, la ficción, la pintura y -como es el caso aquí- la performance. El registro fotográfico en este libro muestra el (des)encuentro entre el "adentro" de una mujer y su entorno. Entorno que viene a ser la mirada de un gran otro: el aglomerado de viandantes.

This book is the latest iteration of the Ghost Part collaboration between the two artists, begun in 2016. Ghost Party revolves around a cast of "ghosts" who have affected both their practices, from Lygia Clark to Pier Paolo Pasolini. Conversations highlight key artistic and political questions addressed in the works, notably questions around the voice, divergent strands of modernisms and ecological urgencies.Text: Fabian Flückiger, Ailton Krenak, Latifa Laâbissi, Olivier Marboeuf, Laila Melchior, Laurens Otto, Suely Rolnik

Mandy El-Sayeghs künstlerische Praxis bezieht sich unter anderem auf eine langjährige Recherche, die ihre Arbeit in ihrer Vielfalt an Formen und Medien durchdringt - die des Körpers in seinen zahlreichen Facetten: in der Gesellschaft, in der Wissenschaft, in der Erotik, als Metapher, als Pathologie, als widerspenstiges Objekt. Die in Malaysia geborene Künstlerin ist fasziniert von dem Status und der Autorität, die verschiedenen Körpern verliehen werden - nicht zuletzt manifestiert durch ihre Herkunft und den damit einhergehenden jeweiligen kulturellen und soziologischen Einschreibungen. Ebenso betrachtet El-Sayegh ihre einzelnen Kunstwerke als Körper, die jeweils aus disparaten Fragmente bestehen, wobei ihre Aufgabe darin liegt, diese immer zu einem kohärenten Ganzen zusammenzufügen. Dabei schöpft sie ihr Material aus einem umfangreichen Archiv, eine wesentliche Grundvoraussetzung für Ihre raumbezogene, auf zahlreiche Medien, wie Skulptur, Malerei und Performance ausgerichtete Arbeit. Mandy El-Sayegh war 2017 für den Max Mara Art Prize for Woman nominiert.Text: Gareth Longstaff, Anna Pigott, Oliver ZybokInterview mit der Künstlerin / and an interview with the artist by von Hans Ulrich Obrist

Tusind borgerhaikuer indeholder ganske bogstaveligt tusind haikutekster, dvs. at hver tekst består af tre dele efter stavelsesskemaet 5-7-5. Haiku er en japansk digtform, der opstod i 1600-tallet, og som i moderne tid er blevet almindeligt udbredt og nærmest ‘demokratiseret ihjel’ som en slags altædende skabelon. I Tusind borgerhaikuer fremskrives komplekse forbindelser mellem forskellige figurer, der i større eller mindre grad afspejler nutidens politisk-kulturelle virkelighedsbillede, på en sådan måde, at hver tekst i sig selv virker som en ultrakoncentreret tankebevægelse, der ud fra sine begrænsede præmisser synes at drage en åben, men alligevel specifik konklusion. Hver haiku indledes med et nummer samt et borgernavn anført med versaler, hvilket skaber følelsen af, at den efterfølgende haiku er ‘funktionelt personaliseret’, som om en algoritme havde ‘oprettet’ haikuen i en given borgers navn og dermed skabt en form for indholdsmatch. Et eksempel: “0263. Borger MØLMAND / Kromosomtrompet // Sæt sfinksen i / stinkskabet // Spænd kyskhedsbæltet”. Men hvis læseren lader blikket glide hen over bogens sider, viser det sig, at borgernavnene alle er frembragt via en ‘borgergenerator’, der arbitrært kombinerer hhv. et forled og et bagled af ‘typisk dansk’ herkomst: ABILDGREN, DAMSBALLE, ABILDBALLE osv. Der findes ingen sen-navne eller navne, der afslører ‘anden etnisk herkomst’. Åbenbart er der gennem et filter skabt et navnenes ekkokammer, en slags incestuøs boble, der synes at indramme haikuernes udsagn.

Jørgen Michaelsens Cockroach er en sangbog på engelsk. En sang det ville tage mere end fire timer at afsynge. Melodien som er komponeret af kunstneren, er meget enkel og bringes indledningsvis som notation med becifring, sådan at der lægges op til musikalsk inklusion: fællessang. Cockroach er genereret ud fra stramme principper: Hver strofe består af fire linjer, hvis enderim udgør strukturen ABAB, sådan at linjerne har hhv. 6 og 5 stavelser. Endvidere påbegyndes hver linje med ordet “Cockroach”, der på den måde bliver en ‘overtydelig’, obskøn omdrejningsfigur. Et eksempel: “Cockroach needs reactor / Cockroach needs repair / Cockroach flaky factor / Cockroach nudist stare”. Cockroach udgør en syntetisk-strukturel ‘boreprøve’, hvor samtidens forestillingsunivers og vokabular udsættes for syntetisk sondering. Udgivet i forbindelse med udstillingen Cyber versus Buddha, Holstebro Kunstmuseum, 2023-24.

What is it that makes a place distinctive? A kind of stubbornness perhaps? How can this quality be accessed through text and artistic research?These questions are explored by Tobias Becker, Elisabeth Brun, Stefanie Bürkle, Knut Ebeling, Alex Gross, Carla Hinrichs, David Karl, Lars Ostenfeld, Ulrike Ottinger, Lola Randl, Emily Strange, Zsuzsanna Toth, Katrin Wegemann, Lawson Wood and Dong Zhou, who bring their varied disciplines to bear on the matter.

This study explores the history of Portuguese performance art, in its various "speculative" and "performative" forms.

This book highlights the linkages between politics and governance and the arts. The essays in the volume show how visual and performative arts have challenged those in power to stir up national fervour and found themselves at the receiving end of political censure.

Breaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and breaks down the movie to explore its aesthetic and ideological representations within the social and cultural context in which it was released.

The book is the first study to investigate the ways in which the creative use of anachronism in historical fictions can allow us to rethink the relationship between past and present.

Lazar Lyutakov eignet sich in seinen Werken alltägliche Produkte unserer modernen Massenkultur und einfache Industrieerzeugnisse an, um über Werte, Produktivität, Qualität und Nutzen in einer postkapitalistischen industrialisierten Welt zu reflektieren. In seiner Ausstellung 1 Million Random Numbers arrangiert er über hundert verschiedene Lavalampen auf Laborrahmen und Gestellen. Diese Publikation beinhaltet zahlreiche Ansichten der spektakulären Installation und zwei Essays: Kristian Vistrup Madsen unternimmt eine kritische Reflexion der Lavalampe als Projektionsfläche für disparate Emotionen und zeigt dabei zahlreiche Parallelen zur Ideengeschichte der Kunst im 20. Jahrhundert auf, während Stephen Zepke bei der Nutzung von Lavalampen als Zufallsgenerator in der Internetverschlüsselung ansetzt und die historischen und politischen Narrative von der Gegenkultur der 1960er Jahre zur technischen Utopie des Silikon Valley und dem damit verbundenen digitalen Kapitalismus beleuchtet.Zusätzlich liegt dem Buch ein vom Künstler gestaltetes 12-seitiges Leporello mit Entwurfszeichnungen der Werkserie 1 Million Random Numbers (Secession Frieze) bei.

Masks, myths, blubber, and stilettos. In a new solo exhibition, using humour and tragedy in equal measure, Jessie Kleemann examines how Greenlandic identity, culture, and nature change over time.For three decades now, Kleemann has been a significant figure on the contemporary art scene with her original approach to video art, experimental theatre, and performance art. Her art is rooted in the complex relations between Greenland, where she was born and raised, and Denmark, where she resides today.This booklet has been published in connection with the exhibition 'Time Runs, Runs Time' at the National Gallery of Denmark, August 24th - November 26th, 2023

Masker, myter, spæk og stilletter. I en ny soloudstilling undersøger Jessie Kleemann med lige dele humor og tragik, hvordan grønlandsk identitet, kultur og natur forandrer sig over tid.Gennem tre årtier har Kleemann været en markant figur på samtidskunstens scene med sin originale tilgang til videokunst, eksperimentalteater og performancekunst. Hendes kunst tager afsæt i de komplekse relationer mellem Grønland, hvor hun er født og opvokset – og Danmark, hvor hun bor i dag.Dette hæfte er udgivet i forbindelse med udstillingen 'Tiden løber løber tiden' på Statens Museum for Kunst, 24. august - 26. november 2023

Back to You offers us an intimate and unprecedented opportunity to experience Chris Burden's artist's book practice. Comprising facsimiles of six rare publications, reissued for the first time since their original release, this new collection presents a comprehensive overview of Burden's radical early performance works and his interest in storytelling across media. "Chris Burden 71-73" (1974) and "Chris Burden 74-77" (1978), originally self-published, feature detailed descriptions by the artist alongside photographs and sketches of his 1970s performances in which he tested his mental and physical limitations, including Five Day Locker Piece in which Burden was shut in a locker for five consecutive days, and Shoot in which he was shot in the arm by a friend with a rifle. "B-Car"(1977) documents Burden's journey to conceive, build and operate a single-passenger car to travel 100 miles an hour per gallon. "Full Financial Disclosure" (1977) meticulously tracks his monthly business expenses for a year (the first artist to publicly do so). "The Master Builder" (2000) was originally editioned as a portfolio of gravure prints of Burden's drawings for his Erector Set bridge sculptures. "Coyote Series" (2005) was originally editioned as a portfolio of digital prints and etchings exploring the encounters he had with coyotes near his California home as well as reproductions of his handwritten stories. Seen together for the first time as an interrelated whole, Back to You shows Burden's radical and uncompromising spirit is alive and well, and introduces his work of fierce social consciousness to a new generation.

A key theme pervading the work of Alex Müller (*1969) is her investigation of the complex phenomenon of time. Again and again, the artist finds impressive images representing time - both its progress as well as its relative nature. For Kunsthalle Nürnberg, Alex Müller has developed an exhibition that combines biographical allusions, cultural and art historical references. In eight chapters, the exhibition takes us on a journey through the artist's universe.Numerous everyday objects become charged with a specific meaning in Alex Müller's oeuvre. Any material can become an artistic material in her work. The artist underlines the open narratives of her art by cleverly playing with the boundaries of painting, drawing, sculpture, installation, film, sound, and performance.Stories are hinted at, but never fully told. The titles evoke associations with specific people, books, films, or events. Alex Müller's art always suggests something unspoken, encouraging further thought, and represents the perpetual search for the self as well as a varied exploration of transience.

Potenziale nicht-institutioneller Ansätze auslotend, hat der Zu¿rcher Ku¿nstler Lukas Hofkunst seit den 1980er-Jahren ein vielschichtiges und eigenständiges OEuvre geschaffen. Er entwickelt und realisiert seine kraftvollen Interventionen dezidiert abseits des traditionellen Kunstbetriebs und verknu¿pft sie mit unterschiedlichsten gesellschaftlichen Kontexten. Seine Skulpturen, Interventionen, Bilder und Performances haben - lange bevor es wieder salonfähig wurde - auf gesellschaftlichen «purpose» gesetzt. Hofkunsts Werke sind im besten Sinne integrativ; sie mischen sich subtil und glaubwu¿rdig ein in dringliche, gesellschaftliche Fragestellungen.