THEATRE: A Review of ‘One Person, Many Stories’ – A Performance by Sheena Rose
Holly Bass, Come Clean- A ritualized performance in which strangers are invited to wash the artist’s hair and engage in structured dialogue. By allowing others to wash her hair, the artist evokes the relationship between mother and child, as well as ideas of culture, identity, privacy, pleasure, renewal and surrender. time: 45 minutes http://instagr.am/p/Qacsw9lVYm/
“Love Me Till It Hurts”
Freight + Volume, 530 W24th St., NYC
Panni Malekzadeh makes beautiful, complicated portraits of contemporary Persian women coming of age. What age, exactly, they are coming into is not entirely clear. The young women she depicts, mostly based on her close friends and family, are clothed in elaborate period-piece costumes, as though they suddenly woke up in a strange land and time, and are seeking clues and clarity to their sexual and cultural identity. They appear filled with an abundant mixture of embarrassment, sexual hunger, shame, confusion, delight and dread. In addition to the portraits, Panni presents a series of pink dollhouses in an antique-wallpapered “bedroom” setting in which to view the work. - thru Aug 11
Guillermo Gómez-Peña, “Philosophical Tantrum”
As part of the New WORLD Theater symposium on 14 June 2011 at Hemispheric New York, Guillermo Gómez-Peña delivered a Philosophical Tantrum, pondering performance art in the present day.
Guillermo Gómez-Peña, “Philosophical Tantrum”
Ladies & gentlemen,
What a strange time to be an artist…
In this time and place, what does it mean to be “transgressive?” What does “radical behavior” mean when the Tea Party lunatics are perceived as defenders of democracy and Glen Beck as a defender of free speech? When our most intelligent newscasters are comedians and Angelina Jolie is considered an activist? Remember the Bush era? What the hell is performance art, pregunto, when a theological cowboy runned the so-called “free world” as if he were directing a spaghetti western on the wrong set? And half a million civilians die during the shooting of the film? And we let him do it? What does radical performance art look like when the images from Abu Ghraib look like radical performance art? What is science fiction when creationism becomes official policy? When some US politicians are sincerely waiting for the rapture and believe that the UN is the anti-Christ? What the hell is performance when Conan the Barbarian became governor of California twice in a reality show called “California?”
Coño, I ask myself rhetorically, what else is there to “transgress?” Who can artists shock, challenge, enlighten? Who is listening? What else should I do or say tonight? Should I improvise more? Give birth to yet another performance persona on stage, “America’s most wanted inner demon?” Should I burn my bra or my green card at the steps of the Museum of Contemporary Art? Bear my soul at the altar of despair? Masturbate in the name of democracy and freedom? Curse Jehovah or Allah? Show up naked at the Alamo with my red stilettos and black cane? Auction my left testicle on eBay?
You tell me…kemosabe. Tonight I am your intellectual surrogate… Or rather, your house Mexican.
Can we start all over again? Can we? May I? Mearlos?"
Copyrighting has never really been about art. Copyrighting is about commerce, commodities. Once reason I’ve always been interested in performance art is that it isn’t easily commodifiable.
—Clifford Owens, BOMB 117, Fall 2011, out now!
(Sorry I couldn’t find bigger photos, click them to make them bigger though)
Rebecca Belmore, Vigil, 2002 (stills from a video of the performance)
This was a direct reference to the Pickton murders (murders of Indiginous women in Vancouver), which made it a public ritual with political end. The features of the performance were: scrubbing the streets, her arms covered with names of missing women, ripping a flower through her teeth, nailing her dress to a telephone pole and tearing out of it until she was left in her underwear (as recreation of dehumanization process and sexual violence inflicted upon them), and spoke the women’s names.
Her performance brought the women alive again and simultaneously, addressed the invisibility of their absence (they were not given enough priority in the media and in police investigative efforts because of their low status in society as Indigenous women and as sex workers).
I remember when she did this. Wrenching. So much of women’s work is this, bearing witness to the lost.
La Virgensota Jota by Bousa
Performer: La Chica Boom (i’ve attached her website)
esta chula is such a fierce performer and this is such a fucking brilliant photo
“La Chica Boom is a performance artist, ecdysiast, and community organizer that explores Chican@ iconography, issues of race, gender and sexuality. Through the practice of ethnic drag, alternative dance, theatre, performance art, neo-burlesque, and clowning, La Chica Boom provides a biting satire that points to contemporary and historical escandalos.”
Burning the US Constitution is a suite of 3 prints. It is documentation of a performance where the sole action was the burning of the US Constitution. It was performed February 2011. The artwork references and is in part inspired by Ai Weiwei’s Dropping a Han Dynasty Urn.