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  • re.act.feminism - a performing archive
    Together with Manolo Valdés the Basque artist represented Spain at the Venice Biennale in 1999 Las cosas The Things documents a comical performance held in Cardiff Wales Esther Ferrer sits with her back to the audience and puts one thing after another on her head while taking off her clothes She then moves to another chair and sits facing the audience She puts her clothes back on while continuing to place things on her head The things used in the performance and which give their name to it acquire a new symbolic value through their participation in the artistic action and their corporal relationship with the artist handling them without losing their own objective instrumental character The artist achieves a subtle balance between artistic discourse and the material nature of the elements comprising it Courtesy Esther Ferrer Document media Video colour sound 19 00 min Issue date 2005 Relations Nieves Correa COR 1 Françoise Janicot JAN 1 Tags body object relation fluxus laughter humorous measuring Archive Signature FER 2 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body control body object relation cabaret capitalism
    http://www.reactfeminism.de/entry.php?l=lb&id=51&e=t&v=&a=&t= (2016-05-01)


  • re.act.feminism - a performing archive
    caught between chaos and order The heart of Intimo y personal which Esther Ferrer has continued either as a solo or group performance since 1975 is the measuring of our bodies and the bodies of others The uniqueness of singular gendered bodies which elude standardized female and male ideals is contrasted with the abstraction of norms numbers and measurements The performance is based on an event score of guidelines that can be followed by other people at any time Its openness borders on the absurd and its lack of strict directions is also surprising As a result Intimo y personal changes every time it is performed For re act feminism Esther Ferrer selected several measurements which not only document the performances but also the changing body of the artist Performances Paris 1977 Intimo y personal MACBA Barcelona 1998 FRAC Lorraine Metz 2007 Courtesy Esther Ferrer and Frac Lorraine collection Document media 3 photographs Issue date 1977 1998 2007 Tags measuring repetition seriality Archive Signature FER 3 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body control body object relation cabaret capitalism childhood collectivity conflict
    http://www.reactfeminism.de/entry.php?l=lb&id=214&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    2011 Everybodyskin 2012 and the video dance pieces Three monster tales 2010 and Unter der scho nen Haut sobre gespa artificial 2011 They live and work in Barcelona MM Art Sucks is a re enactment of Martha Wilson s performance of the same name 1972 see WIL 2 and Preparazione is a re enactment of Leticia Parente s performance Preparac ao I 1975 see PAR 2 Both videos are part of Projekt 13 in which the artists engage with a selection of works from the re act feminism 2 archive over the space of one year Beginning in January 2013 the artist duo will re enact one performance per month from the archive The result will be twelve videos that will be published online For Les filles Fo llen the project is an homage to the feminist performance art of the 1970s and its relevance for today s society Camera Sandra Serna Vilchez editing Tuixen Benet Courtesy Les filles Fo llen Format video colour sound 2 30 min Issue date 2013 Archive Signature FIL 1 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body
    http://www.reactfeminism.de/entry.php?l=lb&id=289&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    also active in the 1970s in the Women Artists Collective of which Hannah O Shea was also a member For this performance Rose Finn Kelcey spent two days in a gallery in Covent Garden London sitting and talking to two magpies in the language of a French transcription of their birdsong while offering them food and objects The artist felt close to the manifold connotations of magpie in English folklore for instance their association with witches She summarises her concept and performance action in the accompanying text For Finn Kelcey this work represents the search for her role as a female artist In the following year 1977 Finn Kelcey commissioned a Welsh translation of the 17 French magpie sounds for her performance Her Mistress s Voice at the National Eisteddfod in Wales during which she screamed the witches speech at the end of Shakespeare s Macbeth while lying on the floor Performance 1976 Covent Garden London Courtesy Rose Finn Kelcey Document media Photographs text Issue date 1976 Relations Tina Keane KEA 1 Hannah O Shea O S 1 Tags extended body human non human animals language Archive Signature FIN 1 P Back to selection Complete Archive About the project Partners
    http://www.reactfeminism.de/entry.php?l=lb&id=52&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    work of art Finn Kelcey was also active in the 1970s in the Women Artists Collective of which Hannah O Shea was also a member Mind The Gap was performed in 1980 during the exhibition About Time at the Institute of Contemporary Art in London The exhibition included only British women artists working with time based media Finn Kelcey did not allow photo documentation of this performance except for the spatial set up In the performance a female voice could be heard from the speakers apologising for the artist s not appearing But later while a male voice was reading from Mary Shelley s Frankenstein she appeared and ran on a treadmill The performance ended with her crouching still on the ground to the sound of a wailing siren until the audience disappeared Performance 1980 Institute of Contemporary Art London Courtesy Rose Finn Kelcey Document media Text Issue date 1980 Relations Tina Keane KEA 1 Hannah O Shea O S 1 Tags in visibility sound voice Archive Signature FIN 2 P Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body control body object relation
    http://www.reactfeminism.de/entry.php?l=lb&id=53&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    2nd Biennale of Contemporary Art in Thessaloniki the 2nd Biennale of Young Art MMOMA in Moscow and Interrupted Connections at Zacheta National Gallery of Art in Warsaw Angelika Fojtuch s performance work deals with the issues of communication the role of the body and emotions in interpersonal relations and the creation of identity which confronts them with the mechanisms of culture Focusing on norms of individuals appearance in public space she explores and crosses the borders of social conduct in order to reveal collective latent tensions neglected fantasies or traumatic fears Her work is usually conceived as a process of interaction with an audience which Fojtuch often puts in uncomfortable or embarrassing situations She often also refers to the specific social and psychological context of the performance s site Joanna Sokołowska Zacheta National Gallery of Art Warsaw 2007 Courtesy Angelika Fojtuch Document media photographs Issue date 2010 Tags beauty normativity Archive Signature FOJ 1 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body control body object relation cabaret capitalism childhood collectivity conflict consumerism craft dance choreography de construct identities death desire destruction dis ability
    http://www.reactfeminism.de/entry.php?l=lb&id=240&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    field For the past two decades she has been developing Logomotion an improvisational dance narrative form Adopting the movements of various animals Simone Forti begins the performance by walking hypnotically in circles She falls to the floor and begins a cycle of walking and crawling that becomes an open metaphor for evolution and aging Through the course of the performance the camera follows Forti s circling motion at increasingly close range creating an interactive dance between camera and performer While rustic in respect to the quality of the video image and sound Solo No 1 serves as an engaging document of Forti s dedicated study of natural movement Courtesy Video Data Bank Chicago Document media Video b w sound 19 00 min Issue date 1974 Relations Yvonne Rainer RAI 1 Tags dance choreography human non human animals repetition seriality Archive Signature FOR 1 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship be coming beauty body control body object relation cabaret capitalism childhood collectivity conflict consumerism craft dance choreography de construct identities death desire destruction dis ability dis appearance dreamscapes durational performance exhaustion extended body failure fashion glamour
    http://www.reactfeminism.de/entry.php?l=lb&id=54&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    of human presence but filled with memories of past political performances Text Coco Fusco Operation Atropos is a documentary about interrogation and POW resistance training Director Coco Fusco worked with retired U S Army interrogators who subjected her group of women students to immersive simulations of POW experiences in order to show them what hostile interrogations can be like and how members of the U S military are taught to resist them The group of interrogators is called Team Delta and they regularly offer intensive courses that they call Authentic Military Experiences to civilians The documentary includes interviews with the interrogators shedding light on how they read personalities how they evaluate the reliability of the person being interrogated and how they use the imposition of physical and mental stress strategically More fundamentally however the film shows how interrogators rationalise what they do and how they imagine both themselves and their enemies Text Video Data Bank Courtesy Video Data Bank Chicago Format video colour sound 59 00min Issue date 2006 Tags conflict military pain torture violence Archive Signature FUS 1 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging appropriation authorship
    http://www.reactfeminism.de/entry.php?l=lb&id=267&e=t&v=&a=&t= (2016-05-01)