Jackson MacLow
VOCABULARY (1968-1980)
Pari&Dispari, 1980
Archivi tag: performance
blue tired heroes / massimo furlan. 2017
«Blue Tired Heroes», Performande von Massimo Furlan im Rahmen von PerformanceProcess in Basel.
Nella continuità di una serie di lavori sperimentati nello spazio pubblico intorno alla figura di Superman (Superman Cosmic Green, Love Story Superman), Blue Tired Heroes mette in discussione la nozione di figura eroica e il fantasma del superuomo accettato nell’immaginario popolare
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Dopo la formazione all’Ecole des Beaux-Arts di Losanna, lo scenografo e artista visivo svizzero Massimo Furlan ha lavorato con diverse compagnie di danza e teatro. Nel 2003 ha fondato la sua compagnia dedicata alle arti dello spettacolo, Numéro23Prod., per interrogare l’atto della rappresentazione al di fuori dei con-fini dei generi. Le sue molteplici performance, essenzialmente articolate intorno all’umorismo e al contrasto, mettono in discussione le manifestazioni popolari e la nozione di squadra, i temi dell’immagine, della durata, dell’infanzia, della memoria e del gioco.
atsuhiro ito / optron / fragments 2007-2019
Atsuhiro Ito Live @ FORESTLIMIT (Tokyo 2019)
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Diamond Version (Byetone & Alva Noto) + Atsuhiro Ito LIVE at EMAF TOKYO 2013 @LIQUIDROOM
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Atsuhiro Ito
: V.R. Specter
- visible sound, audible light
December 1 – December 16, 2012
@ Snow Contemporary (Tokyo):
https://www.artsy.net/search?artist_ids%5B0%5D=atsuhiro-ito&term=atsuhirohttps://www.artsy.net/partner/snow-contemporary
& https://www.artsy.net/show/snow-contemporary-atsuhiro-ito-vr-specter-visible-sound-audible-light/info
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from SHIFT (a 2011 interview to Atsuhiro Ito by Julie Murikawa, http://www.shift.jp.org/en/archives/2011/03/atsuhiro_ito.html):
Atsuhiro Ito “crafted an instrument called the “OPTRON,” which outputs noise from the electrical discharge of a fluorescent light, when he was working on fluorescent light art exhibits in the 90’s. He plays the OPTRON not only as a solo act but also with other musicians both in Japan and overseas”.
An excerpt from the interview:
Why did you want to be an artist? Could you tell us the process of becoming an artist?
This is a problem of wording, but I have never been wanted to become an “artist.” (To me, it is hard to understand what people in this country want to achieve by becoming artists. It almost seems like the word “artist” itself can impress people. I know that it is a very convenient word to explain what people do though.)
In my case, rather than trying to contribute to the world, I’m more interested in creating things with my own hands and playing and listening to sounds. Since I have never stopped doing this, people started to think that this person might be an “artist” and refer to me as such. I have never really added any meaning or social contributions to my art and performances, and will continue to create and perform just because the visual and audible joy and stimulation keep me excited. By the way, my social positions are ‘an art creator and an OPTRON player.’
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If you were not an artist, what would you be instead?
I don’t even know. Maybe a criminal or something. I bet that I’d be making a little better money than my current situation.
sony _walkman_ cm / atsuhiro ito & fuyuki yamakawa. 2013
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Fuyuki Yamakawa’s solo performance:
“quel che non puoi vedere”: mostra e performance @ galleria bruno lisi
c’è sempre carne da macello sotto ogni bandiera / angelo pretolani. 2022
SOTTO IL SELCIATO C’È LA SPIAGGIA
VENERDÌ 25 MARZO 2022
Angelo imbianca una foglia di alloro, la strofina sulla fronte; la macchia con inchiostro rosso. Sospira. C’è sempre carne da macello sotto ogni bandiera.
Da questa performance è stata tratta la seguente opera: Inchiostro, acquerello, alcool, acrilico, carta, colla e foglia di alloro su cartone telato, 30×20 cm.
all / lubomyr tymkiv. 2011
Любомир Тимків, перформанс “Вce”
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Lubomyr Tymkiv, performance “ALL”
at the opening of Ryosuke Cohen show “Brain Cell” (Osaka, Japan). Lubomyr Tymkiv made a performance “Вce” (Lviv, Ukraine, September 10, 2011). “Bce”, pronounced “Vse”, meaning “all” in Ukrainian
Під час відкриття виставки “Мозкові Клітини” художника Ріосуке Коена (Осака, Японія). 10 вересня 2011 року.
media burn / ant farm. 1975
“Media Burn” by Ant Farm. Excerpt from Ant Farm’s classic video art piece examining and satirizing the media, particularly the impact of television. On July 4, 1975, what a TV newscaster described as a “media circus” assembles at San Francisco’s Cow Palace Stadium. A pyramid of television sets are stacked, dowsed with kerosene, and set ablaze. Then a modified 1959 Cadillac El Dorado Biarritz, piloted by two drivers who are guided only by a video monitor between their bucket seats, crashes through the pyramid destroying the TV sets.
https://www.moma.org/collection/works/107284
https://www.facebook.com/geffreygrant.guy/posts/2638853436258211
ARTIST: Ant Farm NATIONALITY: United States DATE_OF_WORK: c. 1976–2004 MATERIALS: offset printing on paper DIMENSIONS: sheet: 11 x 8 1/2 in. CREDIT_LINE: University of California, Berkeley Art Museum and Pacific Film Archive; Purchase made possible through a bequest of Thérèse Bonney by exchange, a partial gift of Chip Lord and Curtis Schreier and gifts from an anonymous donor and Harrison Fraker
performance / angelo pretolani. 2009
Stringe con entrambe le mani un calice colmo di miele. Allunga le braccia in avanti. Reclina lentamente la testa indietro. Apre la bocca in un finto sbadiglio.
Da questa performance è stata tratta la seguente opera: Gocce di ceralacca su stampa digitale e matita su cartoncino, 31×21,5 cm.
tomas schmit: “making things. drawing action language 1970–2006”
Sandro Ricaldone
TOMAS SCHMIT
Making Things
Drawing Action Language 1970–2006
Edited by Jenny Graser and Barbara Wien. Text by Jenny Graser, Dagmar Korbacher, Kasper König, Tomas Schmit, Dorothy Iannone, et al.
Hatje Cantz, 2021
When the European Fluxus group split in 1964 after two eventful years, Tomas Schmit, who had been involved in the group’s actions as a performer, gradually withdrew from performing. From 1966 he devoted himself primarily to writing and drawing. But the idea of the stage as a place where an action is performed in front of and with an audience did not vanish from his art. From then on, Schmit staged “the performance of drawing” on paper. In this catalogue, the close interlocking of performance and drawing in Schmit’s entire oeuvre is examined for the first time. The publication further reflects on the manifold spectrum of his drawing and language art spanning almost 40 years.
TOMAS SCHMIT (1943–2006) came to art as an autodidact, learning from Fluxus artists such as Nam June Paik, George Maciunas, Arthur Köpcke, and Ludwig Gosewitz, with whom he began performing in 1962. His drawings provide complex, often humorous commentary and engage with subjects as diverse as language, logic, cybernetics, biology, behavioral science, and perception.
