archive-de.com » DE » R » REACTFEMINISM.DE

Total: 499

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • re.act.feminism - a performing archive
    a loose narrative that explores the idea of making art as well as its process and perception In front of an invited audience and against a minimal but highly formal set the women appear separately although their physical similarities imply that they are mirror images of one another When they do appear together McKenzie begins to sketch Ołowska s portrait The surrounding audience watches McKenzie noting her ability to translate what is in front of her into a work of art Art s transformation of reality is a central theme of this performance This idea has gained significance by the fact that the performance is now an edited projected film The accompanying soundtrack melancholic piano music adds another layer and reinforces the sense of artifice Courtesy Paulina Ołowska and Lucy McKenzie Document media video Issue date 2003 Tags labour authorship painting drawing Archive Signature OŁO 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
    http://www.reactfeminism.de/entry.php?l=lb&id=249&e=t&v=&a=&t= (2016-05-01)


  • re.act.feminism - a performing archive
    protest the still largely segregated New York art scene Her race class and gender critique not only deconstructs black bourgeois constructs of femininity and high art but also lays bare the internalized repressions and external oppressions of blacks Wearing a white gown and cape made of 360 white gloves she beat herself with the whip that made plantations move and shouted out protest poems written for the occasion with punch lines such as BLACK ART MUST TAKE MORE RISKS and NOW IS THE TIME FOR AN INVASION The first time Mlle Bourgeoise Noire invaded an art opening was at Just Above Midtown Gallery New York the black avant garde gallery in June 1980 The invasion was her response to the Afro American abstract art that she perceived as tame and well behaved art with white gloves on Her next invasion was at the opening of Persona a 1981 exhibition at the New Museum of Contemporary Art New York The exhibition featured nine artists using personas in their work Mlle Bourgeoise Noire called it The Nine White Personae Show When invited to give the outreach lectures to schoolkids for the show she replied Let s talk after the opening After her performance she was dis invited from doing outreach activities Courtesy Lorraine O Grady Alexander Gray Associates New York Document media photographs Issue date 1980 83 To be seen in Centro Cultural Montehermoso Vitoria Gasteiz Spain 7 October 2011 15 January 2012 Tags activism appropriation fashion glamour his herstory roleplay racism Archive Signature O GR 1 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 cabaret capitalism childhood collectivity conflict consumerism craft dance choreography de construct identities death desire destruction
    http://www.reactfeminism.de/entry.php?l=lb&id=188&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    O Shea s bright voice is heard singing a litany for women artists in this audio document originally published in 1982 In this form of religious appraisal for holy men or Gods depending on one s denomination the artist sings the names of women artists in order to emphasise the ignorance and historical denial of their contribution as creative instigators O Shea There is only scarce documentation mostly photographs of this performance which she continued to perform in several different places after 1976 This sound recording appeared on side 3 of Live to Air in William Furlong s audio cassette magazine Audio Arts but it is only a short excerpt of an otherwise 50 minute long live performance containing more than 600 names O Shea ironically read a thunder storm that was raging during one of performances as a sign of God s rage at her misuse of this religious ritual Courtesy Hannah O Shea Document media Audio CD 5 00 min Issue date 1976 Relations Rose Finn Kelcey FIN 1 P Rose Finn Kelcey FIN 2 P Archive Signature O S 1 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism
    http://www.reactfeminism.de/entry.php?l=lb&id=119&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    cultural self portrait 2008 present Funda O zgu naydin takes various music videos by Turkish pop icons including Barıs Manc o s Sarı C izmeli Mehmet Ag a 1978 and Cem Karaca s Namus Belasi 1974 as well as sequences from films by Rainer Werner Fassbinder including Katzelmacher and Liebe ist ka lter als der Tod Love Is Colder Than Death both 1969 and mixes them with footage of herself With much concentration and in the manner of a teenager O zgu naydin re enacts the movements of the Turkish pop legend Barıs Manc o in Displacement II In Displacement VI she performs the death of Ricky the main character in Fassbinder s film Der Amerikanische Soldat The American Soldier 1970 in a sequence that is accompanied by the melancholic vocals of the black actor Gu nther Kaufmann 1947 2012 Through this ambiguous appropriation of the culture of her parents generation which has a delayed effect on the present in this case O zgu naydin traces the slow change in gender relations Courtesy Funda O zgu naydin Format videos b w sound 4 05 min 6 16 min Issue date 2008 2011 Archive Signature ÖZG 1 Back to selection Complete
    http://www.reactfeminism.de/entry.php?l=lb&id=294&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    nuances and differences within one basic element Itziar Okariz pees while standing rolling up her skirt and spreading her legs And she does this on streets in hotels on bridges and highways on stairs in buildings on cars and in the fountains of different cities Her interventions are simple and direct first she appears at the place where she will carry out the action then she slowly enters the picture and positions herself in the scene and immediately begins to make a present of her internal fluids to the city Standing up straight and engrossed in the action Okariz transcribes her identity into an ambivalent damp trace producing an intimate writing in all the meanings of the term and taking over the spaces for a majestic organic moment Courtesy Itziar Okariz Document media Video colour sound 7 00 min Issue date 2002 Tags appropriation normativity private public public space queer drag Archive Signature OKA 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
    http://www.reactfeminism.de/entry.php?l=lb&id=120&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    female passivity and vulnerability while the latent potential for sexist and racist violence and for a destructive desire becomes increasingly apparent Cut Piece is one of Yoko Ono s many Instruction Pieces which are based on a score and intended to be re enacted by others Many artists have since followed her invitation and continue to perform Cut Piece today In 2003 the year the US troops invaded Iraq and almost forty years after Yoko Ono first performed Cut Piece she re enacted the performance in Paris as a call for peace and a demonstration against the political climate after September 11th 2001 She asked the audience to send the cut pieces of her clothing to a loved one as a sign of reconciliation Performance 21 March 1965 Carnegie Recital Hall New York Performance 15 September 2003 Theatre Le Ranelagh Paris Courtesy Yoko Ono Document media Video b w sound 9 10 min Video colour sound 46 00 min Issue date 1965 2003 Relations Valie Export Society VAL1 Tags fluxus gaze sexual violence touch voyeurism vulnerability Archive Signature ONO 1 2 Back to selection Complete Archive About the project Partners Imprint Contact Find us on facebook abstraction activism aggression aging
    http://www.reactfeminism.de/entry.php?l=lb&id=121&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    et des rues in which she uses her body to measure numerous public spaces streets and cultural institutions in Paris such as the Centre Pompidou In MesuRage de la Place Saint Lambert Liège 1980 she uses a section of the large Sain Lambert square in the historical centre of Liège which has just been cleared by construction as a stage for her performance As in her previous actions she wears a white garment made of cloth from her trousseau which she washes in front of the audience at the end of her performance In this ritualistic act of measuring public space and inscribing the female body onto it ORLAN s body an ORLAN corps becomes the standard unit of measurement The dictum of man as the measure of all things as found in the teachings of the ancient architect Vitruvius and illustrated by Leonardo da Vinci in his famous drawing of the Vitruvian man is challenged by this radical subjective and feminist interpretation Courtesy ORLAN studio Document media Photographs Issue date 1974 1983 Relations Lilibeth Cuenca Rasmussen CUE 1 Tags his herstory inscription measuring public space Archive Signature ORL 1 P Back to selection Complete Archive About the project Partners
    http://www.reactfeminism.de/entry.php?l=lb&id=122&e=t&v=&a=&t= (2016-05-01)

  • re.act.feminism - a performing archive
    the curator Harald Szeemann during the opening of the 49th Venice Biennale never leaving his side Part of her contribution to the Biennial was also her conceptual body art work Black Square on White 2001 in which her pubic hair was trimmed in a square and which was kept hidden from the audience The diary that she kept during the time remains unpublished Szeemann prohibited its publication This piece integrated in everyday life poses potential ambiguous narratives concerning the scandalous artist and the curator It provokes an invitation invasion and questions the power structure in the art world Speculations of morality and art world strategy will spin out Courtesy Tanja Ostojić Format Performance documentation Document media Video colour English subtitles 22 00 min Issue date 2001 2002 Tags fashion glamour femininity institutional critique migration roleplay stereotypes Archive Signature OST 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 femininity flesh fluxus
    http://www.reactfeminism.de/entry.php?l=lb&id=123&e=t&v=&a=&t= (2016-05-01)