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Vito Acconci, Conversions II: Insistence, Adaptation, Groundwork, Display, 1971
Source: guggenheim.org
shihlun reblogged
李銘盛，「我是藝術家」，1987。
Zvono Group, Art and Soccer, 1986. The Zvono Group performed actions in Sarajevo shopping streets and football fields, wanting their interventions to be experienced collectively, like those of sportsmen or musicians
Zero Jigen: Yoshihiro Kato, Kenji Kanesaka, Rikuro Miyai, Saito (Futen), Neko (Futen), Naked Gas Mask Walking Ceremony, Kinokuniya, Shinjuku, December 9, 1967.
1967年12月9日 ゼロ次元：加藤好弘、金坂健二、宮井陸郎、斎藤 (フーテン)、ネコ (フーテン)『全裸防毒面歩行儀式』新宿・紀伊國屋から
Photo: Mitsutoshi Hanaga.
Tehching Hsieh, One Year Performance (No Art Piece), 1985-1986
shihlun reblogged
Glass Puzzle, 1973, Joan Jonas
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dig-image
Hong Kong
Dread Scott, I Am Not a Man, 2009.
Francis Alÿs, The Green Line, 2004.
In 1995, Francis Alÿs realised an action in São Paolo called The Leak in which he walked from a gallery, around the city, and back into the gallery trailing a dribbled line from an open can of blue paint. This action was reprised in 2004 when he chose to make a work in Jerusalem. Using green paint, Alÿs walked along the armistice border, known as ‘the green line’, pencilled on a map by Moshe Dayan at the end of the war between Israel and Jordan in 1948. This remained the border until the Six Day War in 1967 after which Israel occupied Palestinian-inhabited territories east of the line.
Though palpably absurd, and greeted by onlookers with some bewilderment, Alÿs’s action of dribbling green paint behind him raised the memory of the green line at a time when the separation fence was under construction to the east of the green line. He later encouraged various commentators from Israel, Palestine, and other countries to reflect on his action, and their voices, sometimes sceptical, sometimes approving, can be heard while the video of his action is screened. Most importantly Alÿs wanted to ask what the role of poetic acts could be in highly charged political situations, while acknowledging that the relation of poetics to politics is always contingent.
Gilbert and George performing in the window display at Buchhandlung Walther König in Cologne, 1971
Tehching Hsieh: One Year Performance 1980-1981.
Wolf Vostell’s Television Décollage performed by Yasunao Tone on the left-hand side and Akiyama Kuniharu on the right-hand side during the Happening for Sightseeing Bus Trip on December 18, 1966
Valie Export, Action Pants: Genital Panic, 1969.
photo: Peter Hassmann
Valie Export’s most iconic image is Action Pants: Genital Panic, a set of six identical photographs taken in 1969 by Peter Hassmann in Vienna. Export is sat on a bench, her legs spread wide and her feet bare. Her leggings have a hole cut into the crotch. In her hands she holds a machine gun, and her hair rises in a wild shock as if she’s been electrocuted. The image was made as partner to a piece of performance art Export coined in a cinema in Munich. The same crotchless leggings were worn as she walked the crowd, exposing her genitalia to the seated audience at head-level. It’s become the stuff of avant-garde, and specifically feminist, legend, and various retellings exist; in an interview with the Los Angeles-based magazine High Performance, Export is quoted as saying Genital Panic took place in a pornographic cinema. She carried a machine gun, offering to have sex with anyone in the audience while levelling the gun at them. As she moved from row to row, people silently left the theatre in repulsion. Export has since denied this version of events, but it adds to the mystery.
Valie Export, Touch Cinema, 1968.
陳界仁 Chen Chieh-jen, 《機能喪失第三號》(Dysfunction No. 3), 1983.
Hi Red Center, Movement to Promote the Cleanup of the Metropolitan Area[Be Clean!] (首都圏清掃整理促進運動), 1964.
Kang Guk-jin and Jeong Gang-ja, Murders on the Hon Riverside, 1968.