Performance art

Performance art is an artwork or art exhibition created through

actions executed by the artist or other participants. It may be
witnessed live or through documentation, spontaneously
developed or written, and is traditionally presented to a public in a
fine art context in an interdisciplinary mode.[1] Also known as
artistic action, it has been developed through the years as a genre
of its own in which art is presented live. It had an important and
fundamental role in 20th century avant-garde art.[2][3]

It involves five basic elements: time, space, body, presence of the

artist, and the relation between the artist and the public. The
actions, generally developed in art galleries and museums, can
take place in any kind of setting or space, and during any time
period.[4] Its goal is to generate a reaction, sometimes with the
support of improvisation and a sense of aesthetics. The themes are Conceptual work by Yves Klein at
Rue Gentil-Bernard, Fontenay-aux-
commonly linked to life experiences of the artist themselves, the
Roses, October 1960. Le Saut dans
need for denunciation or social criticism and with a spirit of le Vide (Leap into the Void).
transformation.[5]

The term "performance art" and "performance" became widely used in the 1970s, even though the history
of performance in visual arts dates back to futurist productions and cabarets from the 1910s.[6][1] Art
critic and performance artist John Perreault credits Marjorie Strider with the invention of the term in
1969.[7] The main pioneers of performance art include Carolee Schneemann,[8] Marina Abramović,[9]
Ana Mendieta,[10] Chris Burden,[11] Hermann Nitsch, Joseph Beuys, Nam June Paik, Tehching Hsieh,
Yves Klein and Vito Acconci.[12] Some of the main exponents more recently are Tania Bruguera,[13] Abel
Azcona,[14] Regina José Galindo,[15] Marta Minujín,[16] Melati Suryodarmo and Petr Pavlensky. The
discipline is linked to the happenings and "events" of the Fluxus movement, Viennese Actionism, body
art and conceptual art.[17]

Definition
The definition and historical and pedagogical contextualization of performance art is controversial. One
of the handicaps comes from the term itself, which is polysemic, and one of its meanings relates to the
scenic arts. This meaning of "performance" in the scenic-arts context differs radically from the concept of
"performance art", since performance art emerged with a critical and antagonistic position towards scenic
arts. Performance art only adjoins the scenic arts in certain aspects such as the audience and the present
body, and still not every performance-art piece contains these elements.[22]
 The meaning of the term "performance art" in the narrower sense
is related to postmodernist traditions in Western culture. From
about the mid-1960s into the 1970s, often derived from concepts
of visual art, with respect to Antonin Artaud, Dada, the
Situationists, Fluxus, installation art, and conceptual art,
performance art tended to be defined as an antithesis to theatre,
challenging orthodox art-forms and cultural norms. The ideal had
been an ephemeral and authentic experience for performer and
audience in an event that could not be repeated, captured or
purchased.[23] The widely discussed difference, how concepts of
visual arts and concepts of performing arts are used, can determine
the meanings of a performance-art presentation.[22]

"Performance art" is a term usually reserved to refer to a

conceptual art that conveys a content-based meaning in a more
Helen Moller[18][19][20][21] dance drama-related sense, rather than being simple performance for its
performance. Photo by Arnold own sake for entertainment purposes. It largely refers to a
Genthe, early 20th century. performance presented to an audience, but which does not seek to
present a conventional theatrical play or a formal linear narrative,
or which alternately does not seek to depict a set of fictitious
characters in formal scripted interactions. It therefore can include
action or spoken word as a communication between the artist and
audience, or even ignore expectations of an audience, rather than
following a script written beforehand.

Some types of performance art nevertheless can be close to

performing arts. Such performance may use a script or create a
fictitious dramatic setting, but still constitute performance art in
that it does not seek to follow the usual dramatic norm of creating
a fictitious setting with a linear script which follows conventional
real-world dynamics; rather, it would intentionally seek to satirize
or to transcend the usual real-world dynamics which are used in
conventional theatrical plays.
Georgia O'Keeffe, photographed
during a performative process, 1919 Performance artists often challenge the audience to think in new
and unconventional ways, break conventions of traditional arts,
and break down conventional ideas about "what art is". As long as
the performer does not become a player who repeats a role, performance art can include satirical
elements; use robots and machines as performers, as in pieces of the Survival Research Laboratories;
involve ritualised elements (e.g. Shaun Caton); or borrow elements of any performing arts such as dance,
music, and circus. Performance art can also involve intersection with architecture, and may intertwine
with religious practice[24][25] and with theology.[26]
Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art",
"actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As
genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia.

Origins
Performance art is a form of expression that was born as an
alternative artistic manifestation. The discipline emerged in 1916
parallel to dadaism, under the umbrella of conceptual art. The
movement was led by Tristan Tzara, one of the pioneers of Dada.
Western culture theorists have set the origins of performance art in
the beginnings of the 20th century, along with constructivism,
Futurism and Dadaism. Dada was an important inspiration
because of their poetry actions, which drifted apart from
conventionalisms, and futurist artists, specially some members of Revived Cabaret Voltaire on the
Russian futurism, could also be identified as part of the starting Spiegelgasse street 1 in Zürich,
process of performance art.[27][28] 2011

Cabaret Voltaire
The Cabaret Voltaire was
founded in Zürich,
Switzerland by the couple
Hugo Ball and Emmy
Hennings for artistic and
political purposes, and was
a place where new
tendencies were explored.
Located on the upper floor
Original plaque of the Cabaret
Voltaire in Zürich of a theater, whose
exhibitions they mocked in
their shows, the works
interpreted in the cabaret were avant garde and experimental. It is
thought that the Dada movement was founded in the ten-meter-
square locale.[29][30] Moreover, Surrealists, whose movement
descended directly from Dadaism, used to meet in the Cabaret. On
its brief existence—barely six months, closing the summer of Original poster of the first function of
the Cabaret Voltaire, by Marcel
1916—the Dadaist Manifesto was read and it held the first Dada
Słodki (1916)
actions, performances, and hybrid poetry, plastic art, music and
repetitive action presentations. Founders such as Richard
Huelsenbeck, Marcel Janco, Tristan Tzara, Sophie Taeuber-Arp and Jean Arp participated in provocative
and scandalous events that were fundamental and the basis of the foundation for the anarchist movement
called Dada.[31]
 Dadaism was born with the intention of destroying any system or
established norm in the art world.[33] It is an anti-art movement,
anti-literary and anti-poetry, that questioned the existence of art,
literature and poetry itself. Not only was it a way of creating, but
of living; it created a whole new ideology.[34] It was against
eternal beauty, the eternity of principles, the laws of logic, the
immobility of thought and clearly against anything universal. It
promoted change, spontaneity, immediacy, contradiction,
randomness and the defense of chaos against the order and
Grand opening of the first Dada imperfection against perfection, ideas similar to those of
exhibition: International Dada Fair, performance art. They stood for provocation, anti-art protest and
Berlin, June 5, 1920. From left to scandal, through ways of expression many times satirical and
right: Raoul Hausmann, Hannah ironic. The absurd or lack of value and the chaos protagonized
Höch (sitting), Otto Burchard,
their breaking actions with traditional artistic form.[33][34][35][36]
Johannes Baader, Wieland
Herzfelde, Margarete Herzfelde, Dr.
Cabaret Voltaire closed in 1916, but was revived in the 21st
Oz (Otto Schmalhausen), George
century.
Grosz and John Heartfield.[32]

Futurism
Futurism was an artistic
avant garde movement that
appeared in 1909. It first
started as a literary
movement, even though
most of the participants
were painters. In the
beginning it also included Bauhaus Dessau building, 2005
sculpture, photography,
music and cinema. The
First World War put an end to the movement, even though in Italy
it went on until the 1930s. One of the countries where it had the
most impact was Russia.[37] In 1912 manifestos such as the
Futurist Sculpture Manifesto and the Futurist Architecture arose,
Left to right, futurists Benedikt and in 1913 the Manifesto of Futurist Lust by Valentine de Saint-
Lifshits, Nikolái Burluik, Vladímir Point, dancer, writer and French artist. The futurists spread their
Mayakovski, David Burliuk and theories through encounters, meetings and conferences in public
Alekséi Kruchónyj. Between 1912 spaces, that got close to the idea of a political concentration, with
and 1913. poetry and music-halls, which anticipated performance
art.[37][38][39]

Bauhaus
The Bauhaus, an art school founded in Weimar in 1919, included an experimental performing arts
workshops with the goal of exploring the relationship between the body, space, sound and light. The
Black Mountain College, founded in the United States by instructors of the original Bauhaus who were
exiled by the Nazi Party, continued incorporating experimental performing arts in the scenic arts training
twenty years before the events related to the history of performance in the 1960s.[40] The name Bauhaus
derives from the German words Bau, construction and Haus, house; ironically, despite its name and the
fact that his founder was an architect, the Bauhaus did not have an architecture department the first years
of its existence.[41][42]

Action painting
In the 1940s and 1950s, the action painting technique or movement gave artists the possibility of
interpreting the canvas as an area to act in, rendering the paintings as traces of the artist's performance in
the studio [43] According to art critic Harold Rosenberg, it was one of the initiating processes of
performance art, along with abstract expressionism. Jackson Pollock is the action painter par excellence,
who carried out many of his actions live.[44] In Europe Yves Klein did his Anthropométries using
(female) bodies to paint canvasses as a public action. Names to be highlighted are Willem de Kooning
and Franz Kline, whose work include abstract and action painting.[43][45][46]

Nouveau réalisme
Nouveau réalisme is another one of the artistic movements cited in the beginnings of performance art. It
was a painting movement founded in 1960 by art critic Pierre Restany and painter Yves Klein, during the
first collective exhibition in the Apollinaire Gallery in Milan. Nouveau réalisme was, along with Fluxus
and other groups, one of the many avant garde tendencies of the 1960s. Pierre Restany created various
performance art assemblies in the Tate Modern, amongst other spaces.[47] Yves Klein is one of the main
exponents of the movement. He was a clear pioneer of performance art, with his conceptual pieces like
Zone de Sensibilité Picturale Immatérielle (1959–62), Anthropométries (1960), and the photomontage
Saut dans le vide.[48][49] All his works have a connection with performance art, as they are created as a
live action, like his best-known artworks of paintings created with the bodies of women. The members of
the group saw the world as an image, from which they took parts and incorporated them into their work;
they sought to bring life and art closer together.[50][51][52]

Gutai
One of the other movements that anticipated performance art was the Japanese movement Gutai, who
made action art or happening. It emerged in 1955 in the region of Kansai (Kyōto, Ōsaka, Kōbe). The
main participants were Jirō Yoshihara, Sadamasa Motonaga, Shozo Shimamoto, Saburō Murakami,
Katsuō Shiraga, Seichi Sato, Akira Ganayama and Atsuko Tanaka.[53] The Gutai group arose after World
War II. They rejected capitalist consumerism, carrying out ironic actions with latent aggressiveness
(object breaking, actions with smoke). They influenced groups such as Fluxus and artists like Joseph
Beuys and Wolf Vostell.[53][54][55]

Land art and performance

In the late 1960s, diverse land art artists such as Robert Smithson or Dennis Oppenheim created
environmental pieces that preceded performance art in the 1970s. Works by conceptual artists from the
early 1980s, such as Sol LeWitt, who made mural drawing into a performance act, were influenced by
Yves Klein and other land art artists.[56][57][58] Land art is a contemporary art movement in which the
landscape and the artwork are deeply bound. It uses nature as a material (wood, soil, rocks, sand, wind,
fire, water, etc.) to intervene on itself. The artwork is generated with the place itself as a starting point.
The result is sometimes a junction between sculpture and architecture, and sometimes a junction between
sculpture and landscaping that is increasingly taking a more determinant role in contemporary public
spaces. When incorporating the artist's body in the creative process, it acquires similarities with the
beginnings of performance art.

Portrait of Valentine de Saint- Intervened cover by Russian

Point in the space of creation Futurist Olga Rozanova (1912)

Portrait of Willem de Kooning, Installation by Gutai Group, in the

action painting painter in his 2009 Venice Biennial
studio
 Installation by Dennis Oppenheim Land art work by Robert
in Hesse, Germany Smithson

Portrait of Pierre Restany in one Freeing of 1001 blue balloons,

of his openings "sculpture aérostatique" by Yves
Klein

1960s
In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those
originary from Cabaret Voltaire or Futurism, a variety of new works, concepts and a growing number of
artists led to new kinds of performance art. Movements clearly differentiated from Viennese Actionism,
avant garde performance art in New York City, process art, the evolution of The Living Theatre or
happening, but most of all the consolidation of the pioneers of performance art.[59]

Viennese actionism
The term Viennese Actionism (Wiener Aktionismus) comprehends a brief and controversial art movement
of the 20th century, which is remembered for the violence, grotesque and visual of their artworks.[60] It is
located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of
performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are Günter Brus,
Otto Muehl and Hermann Nitsch, who developed most of their actionist activities between 1960 and
 1971. Hermann, pioneer of
performance art, presented
in 1962 his Theatre of
Orgies and Mysteries
(Orgien und Mysterien
Theater).[61][62][63] Marina
Abramović participated as
a performer in one of his
Pioneers of Viennese Actionism
during an exhibition in the Hermann
performances in 1975.
Nitsch foundation

New York and

avant-garde performance
In the early 1960s, New
York City harbored many Exploding Plastic Inevitable by Ann
movements, events and Arbor
interests regarding
performance art. Amongst
others, Andy Warhol began creating films and videos,[64] and mid
decade he sponsored The Velvet Underground and staged events
Photography exhibition in The and performative actions in New York, such as the Exploding
Velvet Underground and Andy Plastic Inevitable (1966), that included live rock music, explosive
Warhol Factory lights and films.[65][66][67][68]

The Living Theatre

Indirectly influential for art-world performance, particularly in the
United States, were new forms of theatre, embodied by the San
Francisco Mime Troupe and the Living Theatre and showcased in
Off-Off Broadway theaters in SoHO and at La MaMa in New
York City. The Living Theatre is a theater company created in
1947 in New York. It is the oldest experimental theatre in the
United States.[69] Throughout its history it has been led by its
founders: actress Judith Malina, who had studied theatre with The Living Theatre presenting their
Erwin Piscator, with whom she studied Bertolt Brecht's and work The Brig in Myfest 2008 in
Meyerhold's theory; and painter and poet Julian Beck. After Berlin-Kreuzberg
Beck's death in 1985, the company member Hanon Reznikov
became co-director along with Malina. Because it is one of the
oldest random theatre or live theatre groups nowadays, it is looked upon by the rest. They understood
theatre as a way of life, and the actors lived in a community under libertary principles. It was a theatre
campaign dedicated to transformation of the power organization of an authoritarian society and
hierarchical structure. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the
U.S. in 1968. A work of this period, Paradise Now, was notorious for its audience participation and a
scene in which actors recited a list of social taboos that included nudity, while disrobing.[70]

Fluxus
 Fluxus, a Latin word that
means flow, is a visual arts
movement related to music,
literature, and dance. Its
most active moment was in
the 1960s and 1970s. They
proclaimed themselves
against the traditional
Portrait of John Cage, 1988
artistic object as a
commodity and declared
themselves a sociological art movement. Fluxus was informally
organized in 1962 by George Maciunas (1931–1978). This
movement had representation in Europe, the United States and
Japan.[71] The Fluxus movement, mostly developed in North
America and Europe under the stimulus of John Cage, did not see
the avant-garde as a linguistic renovation, but it sought to make a
different use of the main art channels that separate themselves
Fluxus manifesto
from specific language; it tries to be interdisciplinary and to adopt
mediums and materials from different fields. Language is not the
goal, but the mean for a renovation of art, seen as a global art.[72] As well as Dada, Fluxus escaped any
attempt for a definition or categorization. As one of the movement's founders, Dick Higgins, stated:

Fluxus started with the work, and then came together, applying the name Fluxus to work
which already existed. It was as if it started in the middle of the situation, rather than at the
beginning.[73][74]

Robert Filliou places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to
everyday life, and turns around Duchamp's proposal, who starting from Ready-made, introduced the daily
into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances.[75]

John Cage was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy
in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the
leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential
composers of the 20th century.[76][77][78][79] He was also instrumental in the development of modern
dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's
romantic partner for most of their lives.[80][81]

Cage's friend Sari Dienes can be seen as an important link between the Abstract Expressionists, Neo-
Dada artists like Robert Rauschenberg and Ray Johnson, and Fluxus. Dienes inspired all these artists to
blur the lines between life, Zen, performative art-making techniques and "events," in both pre-meditated
and spontaneous ways.[82]

Process art
Process art is an artistic movement where the end product of art and craft, the objet d’art (work of
art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if
not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the
initiation of actions and proceedings. Process artists saw art as pure human expression. Process art
defends the idea that the process of creating the work of art can be an art piece itself. Artist Robert Morris
predicated "anti-form", process and time over an objectual finished product.[83][84][85]

Happening
Wardrip-Fruin and Montfort in The New Media Reader, "The term
'Happening' has been used to describe many performances and
events, organized by Allan Kaprow and others during the 1950s
and 1960s, including a number of theatrical productions that were
traditionally scripted and invited only limited audience
interaction."[86] A happening allows the artist to experiment with
the movement of the body, recorded sounds, written and talked
texts, and even smells. One of Kaprow's first works was
Happenings in the New York Scene, written in 1961.[87] Allan
Kaprow's happenings turned the public into interpreters. Often the
spectators became an active part of the act without realizing it.
Joseph Beuys in a Documenta
Other actors who created happenings were Jim Dine, Al Hansen,
Kassel event
Claes Oldenburg, Robert Whitman and Wolf Vostell: Theater is in
the Street (Paris, 1958).[88][89]

Main artists
The works by performance artists after 1968 showed many times
influences from the political and cultural situation that year.
Barbara T. Smith with Ritual Meal (1969) was at the vanguard of
body and scenic feminist art in the seventies, which included,
amongst others, Carolee Schneemann and Joan Jonas. These,
along with Yoko Ono, Joseph Beuys, Nam June Paik, Wolf Vostell,
Allan Kaprow, Vito Acconci, Chris Burden and Dennis
Oppenheim were pioneers in the relationship between body art
and performance art, as well as the Zaj collective in Spain with
Esther Ferrer and Juan Hidalgo.

Barbara Smith is an artist and United States activist. She is one of

the main African-American exponents of feminism and LGBT
activism in the United States. In the beginning of the 1970s she
worked as a teacher, writer and defender of the black feminism
current.[90] She has taught at numerous colleges and universities in
Portrait of Joseph Beuys and Andy
the last five years. Smith's essays, reviews, articles, short stories
Warhol in Naples
and literary criticism have appeared in a range of publications,
including The New York Times, The Guardian, The Village Voice
and The Nation.[91][92][93]

Carolee Schneemann[94] was an American visual experimental artist, known for her multi-media works
on the body, narrative, sexuality and gender.[95] She created pieces such as Meat Joy (1964) and Interior
Scroll (1975).[96] Schneemann considered her body a surface for work.[97] She described herself as a
"painter who has left the canvas to activate the real space and the
lived time."[98]

Joan Jonas (born July 13, 1936) is an American visual artist and a
pioneer of video and performance art, who is one of the most
important female artists to emerge in the late 1960s and early
1970s.[99] Jonas' projects and experiments provided the foundation
on which much video performance art would be based. Her
influences also extended to conceptual art, theatre, performance
art and other visual media. She lives and works in New York and
Nova Scotia, Canada.[100][101] Immersed in New York's downtown
art scene of the 1960s, Jonas studied with the choreographer
Trisha Brown for two years.[102] Jonas also worked with
choreographers Yvonne Rainer and Steve Paxton.[103]

Yoko Ono was part of the avant-garde movement of the 1960s.

She was part of the Fluxus movement.[104] She is known for her Carolee Schneemann, performing
performance art pieces in the late 1960s, works such as Cut Piece, her piece Interior Scroll. Yves Klein
where visitors could intervene in her body until she was left in France, and Carolee
Schneemann, Yayoi Kusama,
naked.[105] One of her best known pieces is Wall piece for
Charlotte Moorman, and Yoko Ono
orchestra (1962).[106][107] in New York City were pioneers of
performance based works of art,
Joseph Beuys was a German Fluxus, happening, performance
that often entailed nudity.
artist, painter, sculptor, medallist and installation artist. In 1962 his
actions alongside the Fluxus neodadaist movement started, group
in which he ended up becoming the most important member. His most relevant achievement was his
socialization of art, making it more accessible for every kind of public.[108] In How to Explain Pictures to
a Dead Hare (1965) he covered his face with honey and gold leaf and explained his work to a dead hare
that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the
artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal.[109]
Beuys acted as a shaman with healing and saving powers toward the society that he considered dead.[110]
In 1974 he carried out the performance I Like America and America Likes Me where Beuys, a coyote and
materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote
for three days. He piled United States newspapers, a symbol of capitalism.[111] With time, the tolerance
between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements
used in other works.[112] Objects that differ form Duchamp's ready-mades, not for their poor and
ephemerality, but because they are part of Beuys's own life, who placed them after living with them and
leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by
the tartars who saved in World War Two. In 1970 he made his Felt Suit. Also in 1970, Beuys taught
sculpture in the Kunstakademie Düsseldorf.[113] In 1979, the Solomon R. Guggenheim Museum of New
York City exhibited a retrospective of his work from the 1940s to 1970.[114][115][116]
Portrait of Barbara Smith Conference by Yoko Ono in the
Viena Biennial, 2012

Portrait of Yoko Ono Video art piece from the Brooklyn

Museum with an interview with
Carolee Schneemann
 Joan Jonas during a performance Portrait of artist Joan Jonas
documented on video and
installed, 1972

Portrait of Joseph Beuys in a Joseph Beuys in a video art piece

conference-performance, 1978

Nam June Paik was a South Korean performance artist, composer and video artist from the second half of
the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled
to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg
conservatory. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage
and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell and
was from 1962 on, a member of the experimental art movement Fluxus.[117][118] Nam June Paik then
began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the
composer John Cage and his use of everyday sounds and noises in his music.[119] He was mates with
Yoko Ono as a member of Fluxus.[120]

Wolf Vostell was a German artist, one of the most representative of the second half of the 20th century,
who worked with various mediums and techniques such as painting, sculpture, installation, decollage,
video art, happening and fluxus.[121]

Vito Acconci[122][123] was an influential American performance, video and installation artist, whose
diverse practice eventually included sculpture, architectural design, and landscape design. His
foundational performance and video art[124] was characterized by "existential unease," exhibitionism,
discomfort, transgression and provocation, as well as wit and audacity,[123] and often involved crossing
boundaries such as public–private, consensual–nonconsensual, and real world–art world.[125][126] His
work is considered to have influenced artists including Laurie Anderson, Karen Finley, Bruce Nauman,
and Tracey Emin, among others.[125] Acconci was initially interested in radical poetry, but by the late
1960s, he began creating Situationist-influenced performances in the street or for small audiences that
explored the body and public space. Two of his most famous pieces were Following Piece (1969), in
which he selected random passersby on New York City streets and followed them for as long as he was
able, and Seedbed (1972), in which he claimed that he masturbated while under a temporary floor at the
Sonnabend Gallery, as visitors walked above and heard him speaking.[127]

Chris Burden was an American artist working in performance, sculpture and installation art. Burden
became known in the 1970s for his performance art works, including Shoot (1971), in which he arranged
for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-
known installations, public artworks and sculptures before his death in 2015.[128][129][130] Burden began
to work in performance art in the early 1970s. He made a series of controversial performances in which
the idea of personal danger as artistic expression was central. His first significant performance work, Five
Day Locker Piece (1971), was created for his master's thesis at the University of California, Irvine,[128]
and involved his being locked in a locker for five days.[131]

Dennis Oppenheim was an American conceptual artist, performance artist, earth artist, sculptor and
photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the
nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the
Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work
progressed from perceptions of the physical properties of the gallery to the social and political context,
largely taking the form of permanent public sculpture in the last two decades of a highly prolific career,
whose diversity could exasperate his critics.[132]

Yayoi Kusama is a Japanese artist who, throughout her career, has worked with a great variety of media
including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the
majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the
pop art, minimalism and feminist art movements and influenced her coetaneous, Andy Warhol and Claes
Oldenburg.[133] She has been acknowledged as one of the most important living artists to come out of
Japan and a very relevant voice in avant garde art.[134][135]
Video-installation-performance by Video-installation-performance by
Nam June Paik in 2008 Nam June Paik in Düsseldorf

Portrait of Wolf Vostell in 1980 Portrait of Allan Kaprow in 1973

 Vito Acconci during a video- Installation by Vito Acconci in the
performance in 1973 Luigi Pecci Contemporary Art
Centre

Installation by Dennis Oppenheim

in the Vancouver Sculpture
Biennial

1970s
In the 1970s, artists that had derived to works related to
performance art evolved and consolidated themselves as artists
with performance art as their main discipline, deriving into
installations created through performance, video performance, or
collective actions, or in the context of a socio-historical and
political context.

Video performance
Installation by Bruce Nauman with
In the early 1970s the use of video format by performance artists various video performances
was consolidated. Some exhibitions by Joan Jonas and Vito
Acconci were made entirely of video, activated by previous
performative processes. In this decade, various books that talked about the use of the means of
communication, video and cinema by performance artists, like Expanded Cinema, by Gene Youngblood,
were published. One of the main artists who used video and
performance, with notorious audiovisual installations, is the South
Korean artist Nam June Paik, who in the early 1960s had already
been in the Fluxus movement until becoming a media artist and
evolving into the audiovisual installations he is known for.

Carolee Schneemann's and Robert Whitman's 1960s work

regarding their video-performances must be taken into
consideration as well. Both were pioneers of performance art,
turning it into an independent art form in the early seventies.[136]

Joan Jonas started to include video in her experimental

performances in 1972, while Bruce Nauman scenified his acts to
be directly recorded on video.[137] Nauman is an American
multimedia artist, whose sculptures, videos, graphic work and
performances have helped diversify and develop culture from the
1960s on. His unsettling artworks emphasized the conceptual
nature of art and the creation process.[138] His priority is the idea
and the creative process over the result. His art uses an incredible
Gilbert and George in London, 2007
array of materials and especially his own body.[139][140]

Gilbert and George are Italian artist Gilbert Proesch and English artist George Passmore, who have
developed their work inside conceptual art, performance and body art. They were best known for their
live-sculpture acts.[141][142] One of their first makings was The Singing Sculpture, where the artists sang
and danced "Underneath the Arches", a song from the 1930s. Since then they have forged a solid
reputation as live-sculptures, making themselves works of art, exhibited in front of spectators through
diverse time intervals. They usually appear dressed in suits and ties, adopting diverse postures that they
maintain without moving, though sometimes they also move and read a text, and occasionally they appear
in assemblies or artistic installations.[143] Apart from their sculptures, Gilbert and George have also made
pictorial works, collages and photomontages, where they pictured themselves next to diverse objects from
their immediate surroundings, with references to urban culture and a strong content; they addressed topics
such as sex, race, death and HIV, religion or politics,[144] critiquing many times the British government
and the established power. The group's most prolific and ambitious work was Jack Freak Pictures, where
they had a constant presence of the colors red, white and blue in the Union Jack. Gilbert and George have
exhibited their work in museums and galleries around the world, like the Stedelijk van Abbemuseum of
Eindhoven (1980), the Hayward Gallery in London (1987), and the Tate Modern (2007). They have
participated in the Venice Biennale. In 1986 they won the Turner Prize.[145]

Endurance art
Endurance performance art deepens the themes of trance, pain, solitude, deprivation of freedom, isolation
or exhaustion.[146] Some of the works, based on the passing of long periods of time are also known as
long-durational performances.[147] One of the pioneering artists was Chris Burden in California since the
1970s.[148] In one of his best known works, Five days in a locker (1971) he stayed for five days inside a
school locker, in Shoot (1971) he was shot with a firearm, and inhabited for twenty two days a bed inside
an art gallery in Bed Piece (1972).[149] Another example of endurance artist is Tehching Hsieh. During a
performance created in 1980–1981 (Time Clock Piece), where Hsieh took a photo of himself next to time
clock installed in his studio every hour for an entire year. Hsieh is also known for his performances about
deprivation of freedom; he spent an entire year confined.[150] In The House With the Ocean View (2003),
Marina Abramović lived silently for twelve days without food.[151] The Nine Confinements or The
Deprivation of Liberty is a conceptual endurance artwork of critical content carried out in the years 2013
and 2016. All of them have in common the illegitimate deprivation of freedom.

Performance in a political context

In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as Budapest, Kraków,
Belgrade, Zagreb, Novi Sad and others, scenic arts of a more experimental content flourished. Against
political and social control, different artists who made performance of political content arose. Orshi
Drozdik's performance series, titled Individual Mythology 1975–77 and the NudeModel 1976–77. All her
actions were critical of the patriarchal discourse in art and the forced emancipation programme and
constructed by the equally patriarchal state.[152] Drozdik showed a pioneer and feminist point of view on
both, becoming one of the precursors of this type of critical art in Eastern Europe.[153] In the 1970s,
performance art, due to its fugacity, had a solid presence in the Eastern European avant-garde, specially
in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically
emerged.

The Other
In the mid-1976s, Ulay and
Marina Abramović founded
the collective The Other in
the city of Amsterdam.
When Abramović and
Ulay[154] started their
Cell where Tehching Hsieh carried collaboration. The main
out his endurance art work; the concepts they explored Ulay and Marina Abramović, The
piece is now in the Modern Art were the ego and artistic Other collective in one of their works
Museum of New York collection identity. This was the start
of a decade of collaborative
work.[155] Both artists were interested in the tradition of their
cultural heritage and the individual's desire for rituals.[156] In consecuense, they formed a collective
named The Other. They dressed and behaved as one, and created a relation of absolute confidence. They
created a series of works in which their bodies created additional spaces for the audience's interaction. In
Relation in Space they ran around the room, two bodies like two planets, meshing masculine and
feminine energies into a third component they called "that self".[157] Relation in Movement (1976) had
the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car,
forming a sculpture, and each round represented a year.[158] After this, they created Breathing
In/Breathing Out, where both of them united their lips and inspired the air expired by the other one until
they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell
unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a
person to absorb the life out of another one, changing them and destroying them. In 1988, after some
years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an
end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding
each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an
appropriate and romantic ending to the relationship full of mysticism, energy and attraction.[159] Ulay
started on the Gobi dessert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres,
found each other in the middle and said goodbye.

Main artists
In 1973, Laurie Anderson interpreted Duets on Ice in the streets of New York. Marina Abramović, in the
performance Rhythm 10, included conceptually the violation of a body.[160] Thirty years later, the topic of
rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as
Clifford Owens,[161] Gillian Walsh, Pat Oleszko and Rebecca Patek, amongst others.[162] New artists with
radical acts consolidated themselves as the main precursors of performance, like Chris Burden, with the
1971 work Shoot, where an assistant shot him in the arm from a five-meter distance, and Vito Acconci the
same year with Seedbed. The work Eye Body (1963) by Carolee Schneemann en 1963, had already been
considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as
Interior Scroll, that showed the feminine body as an artistic media.

One of the main artists was Gina Pane,[163] French artist of Italian origins. She studied at the École
nationale supérieure des Beaux-Arts in París from 1960 until 1965[164] and was a member of the
performance art movement in the 1970 in France, called "Art Corporel".[165] Parallel to her art, Pane
taught in the Ecole des Beaux-Arts in Mans from 1975 until 1990 and directed an atelier dedicated to
performance art in the Pompidou Centre from 1978 to 1979.[165] One of her best known works is The
Conditioning (1973), in which she was lied into a metal bed spring over an area of lit candles. The
Conditioning was created as an homage to Marina Abramović, part of her Seven Easy Pieces(2005) in the
Solomon R. Guggenheim Museum in New York City in 2005. Great part of her works are protagonized
by self-inflicted pain, separating her from most of other woman artists in the 1970s. Through the violence
of cutting her skin with razors or extinguishing fires with her bare hands and feet, Pane has the intention
of inciting a real experience in the visitor, who would feel moved for its discomfort.[163] The impactful
nature of these first performance art pieces or actions, as she preferred to call them, many times eclipsed
her prolific photographic and sculptural work. Nonetheless, the body was the main concern in Panes's
work, either literally or conceptually.
Portrait of Ulay in 1972 Abramovic and Ulay's Furgone

Exhibition of Marina Abramović's Installation by Bruce Nauman in

first works in Stockholm Germany
 Video installation by Nam June Gilbert and George in a
Paik presentation

Orshi Drozdik in one of her

exhibitions

1980s

The technique of performance art

Until the 1980s, performance art has demystified virtuosism, this being one of its key characteristics.
Nonetheless, from the 1980s on it started to adopt some technical brilliancy.[166] In reference to the work
Presence and Resistance[167] by Philip Auslander, the dance critic Sally Banes writes, "... by the end of
the 1980s, performance art had become so widely known that it no longer needed to be defined; mass
culture, especially television, had come to supply both structure and subject matter for much performance
art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem
Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment."[168] In
this decade the parameters and technicalities built to purify and perfect performance art were defined.

Critique and investigation of performance art

 Despite the
fact that many
performances
are held within
the circle of a
small art-world
group, Roselee
Critic and performance expert Goldberg notes
RoseLee Goldberg during a in
symposium in Moscow Performance
Art: From Tehching Hsieh exhibition in the Modern Art
Futurism to Museum of New York, where the artist made a
the Present that "performance has been a way of daily self-portrait

appealing directly to a large public, as well as

shocking audiences into reassessing their own notions
of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems
from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its
distinct community, and to be surprised by the unexpected, always unorthodox presentations that the
artists devise." In this decade, publications and compilations about performance art and its best known
artists emerged.

Performance art from a political context

In the 1980s, the political context played an important role in the artistic development and especially in
performance, as almost every one of the works created with a critical and political discourse were in this
discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had
actively been rejected by most communist governments. With the exception of Poland and Yugoslavia,
performance art was more or less banned in countries where any independent public event was feared. In
the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous
gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-
shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest
or a bitter comment, using subversive metaphors to express dissent with the political situation.[169]
Amongst the most remarkable performance art works of political content in this time were those of
Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece).[170]

Performance poetry
In 1982 the terms "poetry" and "performance" were first used together. Performance poetry appeared to
distinguish text-based vocal performances from performance art, especially the work of escenic and
musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance
poets relied more on the rhetorical and philosophical expression in their poetics than performance artists,
who arose from the visual art genres of painting and sculpture. Many artists since John Cage fuse
performance with a poetical base.

Feminist performance art

 Since 1973 the Feminist
Studio Workshop in the
Woman's Building of Los
Ángeles had an impact in
the wave of feminist acts,
but until 1980 they did not
completely fuse. The
conjunction between
feminism and performance
art progressed through the
last decade. In the first two Portrait of Pina Bausch, 1985

decades of performance art

development, works that had not been conceived as feminist are
seen as such now.
Portrait of Lynda Benglis, 1974
Still, not until 1980 did artists self-define themselves as feminists.
Artist groups in which women influenced by the 1968 student
movement as well as the feminist movement stood out.[171] This connection has been treated in
contemporary art history research. Some of the women whose innovative input in representations and
shows was the most relevant were Pina Bausch and the Guerrilla Girls who emerged in 1985 in New York
City,[172] anonymous feminist and anti-racist art collective.[173][174][175][176] They chose that name
because they used guerrilla tactics in their activism [173] to denounce discrimination against women in art
through political and performance art.[177][178][179][180] Their first performance was placing posters and
making public appearances in museums and galleries in New York, to critique the fact that some groups
of people were discriminated against for their gender or race.[181] All of this was done anonymously; in
all of these appearances they covered their faces with gorilla masks (this was due to the similar
pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists
who had died.[182] From the 1970s until the 1980s, amongst the works that challenged the system and
their usual strategies of representation, the main ones feature women's bodies, such as Ana Mendieta's
works in New York City where her body is outraged and abused, or the artistic representations by Louise
Bourgeois with a rather minimalist discourse that emerge in the late seventies and eighties. Special
mention to the works created with feminine and feminist corporeity such as Lynda Benglis and her phallic
performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through
feminist performance art the body becomes a space for developing these new discourses and meanings.
Artist Eleanor Antin, creator in the 1970s and 1980s, worked on the topics of gender, race and class.
Cindy Sherman, in her first works in the seventies and already in her artistic maturity in the eighties,
continues her critical line of overturning the imposed self, through her use of the body as an object of
privilege.

Cindy Sherman is an American photographer and artist. She is one of the most representative post-war
artists and exhibited more than the work of three decades of her work in the MoMA. Even though she
appears in most of her performative photographies, she does not consider them self-portraits. Sherman
uses herself as a vehicle to represent a great array of topics of the contemporary world, such as the part
women play in our society and the way they are represented in the media as well as the nature of art
creation. In 2020 she was awarded with the Wolf prize in arts.[183]
Judy Chicago is an artist and pioneer of feminist art and
performance art in the United States. Chicago is known for her big
collaborative art installation pieces on images of birth and
creation, that examine women's part in history and culture. In the
1970s, Chicago has founded the first feminist art programme in
the United States. Chicago's work incorporates a variety of artistic
skills such as sewing, in contrast with skills that required a lot of
workforce, like welding and pyrotechnics. Chicago's best known
Exhibition by Cindy Sherman in the
work is The Dinner Party, that was permanently installed in the United States
Elizabeth A. Sackler Center for Feminist Art in the Brooklyn
Museum. The Dinner Party celebrated the achievements of
women throughout history and is widely considered as the first epic feminist artwork. Other remarkable
projects include International Honor Quilt, The Birth Project,[184] Powerplay,[185] and The Holocaust
Project.[186]

Students in a Martha Rosler The Guerrilla Girls in an opening

exhibition in London

Works of the 'Guerrilla Girls' in an Guerrilla Girls exhibition

exhibition in the Museum of
Modern Art, Manhattan, New York
 Installation by Louise Bourgeois Portrait of Judy Chicago
in a Brazilian museum

Expansion to Latin America

In this decade performance art spread until reaching Latin America through the workshops and
programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia
-with artists such as Maria Teresa Hincapié—, in Brasil and in Argentina.[187]

Ana Mendieta was a conceptual and performance artist born in

Cuba and raised in the United States. She's mostly known for her
artworks and performance art pieces in land art. Mendieta's work
was known mostly in the feminist art critic environment. Years
after her death, specially since the Whitney Museum of American
Art retrospective in 2004[188] and the retrospective in the Haywart
Gallery in London in 2013[189] she is considered a pioneer of
Women interacting with the work
performance art and other practices related to body art and land Listening to the sounds of death by
art, sculpture and photography.[190] She described her own work Teresa Margolles in the Museo de la
as earth-body art.[191][192] Memoria y la Tolerancia of Mexico
City
Tania Bruguera is a Cuban artist specialized in performance art
and political art. Her work mainly consists of her interpretation of
political and social topics.[193] She has developed concepts such as "conduct art" to define her artistic
practices with a focus on the limits of language and the body confronted to the reaction and behavior of
the spectators. She also came up with "useful art", that it ought to transform certain political and legal
aspects of society. Brugera's work revolves around power and control topics, and a great portion of her
work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de
Conducta in La Habana.[194][195][196]

Regina José Galindo is a Guatemalan artist specialized in performance art. Her work is characterized by
its explicit political and critical content, using her own body as a tool of confrontation and social
transformation.[197] Her artistic career has been marked by the Guatemalan Civil War that took place
from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them
indigenous, farmers, women and children.[187] With her work, Galindo denounces violence, sexism (one
of her the main topics is femicide), the western beauty standards, the repression of the estates and the
 abuse of power, especially in the context of her country, even
though her language transgresses borders. Since her beginnings
she only used her body as media, which she occasionally takes to
extreme situations (like in Himenoplasty (2004) where she goes
through a hymen reconstruction, a work that won the Golden Lyon
in the Venice Biennale), to later have volunteers or hired people to
interact with her, so that she loses control over the action.[198]

1990s
The 1990s was a period of absence for classic European
performance, so performance artists kept a low profile.
Nevertheless, Eastern Europe experienced a peak. On the other
hand, Latin American performance continued to boom, as well as
feminist performance art. There also was a peak of this discipline
in Asian countries, whose motivation emerged from the Butō
Argentinean Marta Minujín during a dance in the 1950s, but in this period they professionalized and
performance art piece
new Chinese artists arose, earning great recognition. There was
also a general
professionalization in the
increase of exhibitions
dedicated to performance
art, at the opening of the
Venice Art Biennial to
performance art, where
various artists of this
discipline have won the Exhibition by Chinese artist
Performance in the Romanian
Pavilion of the Venice Biennial
Leone d'Oro, including Tehching Hsieh with documentation
Anne Imhof, Regina José of his first performance artworks
Galindo or Santiago Sierra.

Performance with political context

While the Soviet Bloc dissolved, some forbidden performance art
pieces began to spread. Young artists from the former Eastern
Bloc, including Russia, devoted themselves to performance art.
Scenic arts emerged around the same time in Cuba, the Caribbean
and China. "In these contexts, performance art became a new
critical voice with a social strength similar to that of Western
Museum and centre specialized in
Europe, the United States and South America in the sixties and performance art in Taitung
early seventies. It must be emphasized that the rise of performance University
art in the 1990s in Eastern Europe, China, South Africa, Cuba and other places must not be considered
secondary or an imitation of the West".[199]

Professionalization of performance art

In the Western World, in the 1990s, performance art joined the mainstream culture. Diverse performance
artworks, live, photographed or through documentation started to become part of galleries and museums
that began to understand performance art as an art discipline.[200] Nevertheless, it was not until the next
decade that a major institutionalization happened, when every museum started to incorporate
performance art pieces into their collections and dedicating great exhibitions and retrospectives, museums
such as the Tate Modern in London, the MoMA in New York City or the Pompidou Centre in Paris. From
the 1990s on, many more performance artists were invited to important biennials like the Venice
Biennale, the Sao Paulo Biennial and the Lyon Biennial.

Performance in China
In the late 1990s, Chinese contemporary art and performance art received great recognition
internationally, as 19 Chinese artists were invited to the Venice Biennial.[201][202] Performance art in
China and its history had been growing since the 1970s due to the interest between art, process and
tradition in Chinese culture, but it gained recognition from the 1990s on.[203][199] In China, performance
art is part of the fine arts education programme, and is becoming more and more popular.[203][204] In the
early 1990s, Chinese performance art was already acclaimed in the international art scene.[205][203][206]
Performance art in the Lyon Performance art in the Lyon
Biennale Biennale

Performance at the entrance of Performative installation by

the Romanian Pavilion at the Joseph Beuys in the Tate Modern
Venice Biennale of London

Video installation with the Tehching Hsieh exhibition in

Chinese artist Ai Weiwei downtown New York City
 China Pavilion at the Venice Portrait of Wang Xiaoshuai
Biennale

Liu Xiaodong during a

performance artwork

Since the 2000s

New-media performance
In the late 1990s and into the 2000s, a number of artists
incorporated technologies such as the World Wide Web, digital
video, webcams, and streaming media, into performance
artworks.[207] Artists such as Coco Fusco, Shu Lea Cheang, and
Prema Murthy produced performance art that drew attention to the
role of gender, race, colonialism, and the body in relation to the
Internet.[208] Other artists, such as Critical Art Ensemble, New media performance art, 2009
Electronic Disturbance Theater, and Yes Men, used digital
technologies associated with hacktivism and interventionism to
raise political issues concerning new forms of capitalism and consumerism.[209][210]
In the second half of the decade, computer-aided forms of performance art began to take place.[211] Many
of these works led to the development of algorithmic art, generative art, and robotic art, in which the
computer itself, or a computer-controlled robot, becomes the performer.[212]

Coco Fusco is an interdisciplinary Cuban-American artist, writer and curator who lives and works in the
United States. Her artistic career began in 1988. In her work, she explores topics such as identity, race,
power and gender through performance. She also makes videos, interactive installations and critical
writing.[213][22]

Radical performance
During the 2000s and 2010s, artists such as Pussy Riot, Tania
Bruguera, and Petr Pavlensky have been judged for diverse artistic
actions.[214]

On February 21, 2012, as a part of their protest against the re-

election of Vladímir Putin, various women of the artistic collective
Pussy Riot entered the Cathedral of Christ the Saviour of Moscow
of the Russian Orthodox Church. They made the sign of the cross,
Petr Pavlensky cutting his own ear
bowed before the shrine, and started to interpret a performance in a political action in the Red
compound by a song and a dance under the motto "Virgin Mary, Square of Moscow
put Putin Away". On March 3, they were detained.[215] On March
3, 2012, Maria Alyokhina
and Nadezhda
Tolokonnikova, [216][217]

Pussy Riot members, were

arrested by the Russian
authorities and accused of
vandalism. At first, they
both denied being members
Pussy Riot during a performance of the group and started a Protest for the liberation of Pussy
with Tania Bruguera hunger strike for being Riot
incarcerated and taken
apart from their children
until the trials began in April. [218] On March 16 another woman, Yekaterina Samutsévitch, who had been
previously interrogated as a witness, was arrested and accused as well. On July 5, formal charges against
the group and a 2800-page accusation were filed.[219] That same day they were notified that they had
until July 9 to prepare their defense. In reply, they announced a hunger strike, pleading that two days was
an inappropriate time frame to prepare their defense.[220] On July 21, the court extended their preventive
prison to last six more months.[221] The three detained members were recognized as political prisoners by
the Union of Solidarity with Political Prisoners.[222] Amnesty International considers them to be prisoners
of conscience for "the severity of the response of the Russian authorities".[223]

Since 2012, artist Abel Azcona has been prosecuted for some of his works. The demand that gained the
most repercussion was the one carried out by the Archbishopric of Pamplona and Tudela,[224] in
representation of the Catholic Church.[225] The Church demanded Azcona for desecration and blasphemy
crimes, hate crime and attack against the religious freedom and feelings for his work Amen or The
Pederasty.[226][227] In 2016, Azcona was denounced for extolling
terrorism[228][229] for his exhibition Natura Morta,[230] in which
the artist recreated situations of violence, historical memory,
terrorism or war conflicts through performance and hyperrealistic
sculptures and installations.[231]

In December 2014 Tania Bruguera was detained in La Habana to

prevent her from carrying out new reivindicative works. Her
performance art pieces have earned her harsh critiques, and she The artist Abel Azcona during The
Fathers at museum of Madrid, 2018
has been accused of promoting resistance and public
disturbances.[232][233] In December 2015 and January 2016,
Bruguera was detained for organizing a public performance in the plaza de la Revolución of La Habana.
She was detained along with other Cuban artists, activists and reporters who took part in the campaign Yo
También Exijo, which was created after the declarations of Raúl Castro and Barack Obama in favor of
restoring their diplomatic relationship. During the performance El Susurro de Tatlin #6 she set
microphones and talkers in the Plaza de la Revolución so the Cubans could express their feelings
regarding the new political climate. The event had great repercussion in international media, including a
presentation of El Susurro de Tatlin #6 in Times Square, and an action in which various artists and
intellectuals expressed themselves in favour of the liberation of Bruguera by sending an open letter to
Raúl Castro signed by thousands of people around the world asking for the return of her passport and
claiming criminal injustice, as she only gave a microphone to the people so they could give their
opinion.[234][235][236][237][238]

In November 2015 and October 2017 Petr Pavlensky was arrested for carrying out a radical performance
art piece in which he set on fire the entry of the Lubyanka Building, headquarters of the Federal Security
Service of Russia, and a branch office of the Bank of France.[239] On both occasions he sprayed the main
entrance with gasoline; in the second performance he sprayed the inside as well, and ignited it with a
lighter. The doors of the building were partially burnt. Both times Pavlenski was arrested without
resistance and accused of debauchery. A few hours after the actions, several political and artistic
reivindicative videos appeared on the internet.[240]

Institutionalization of performance art / performance collecting processes

Since the 2000s, big museums, institutions and collections have
supported performance art. Since January 2003, Tate Modern in
London has had a curated programme of live art and
performance.[241] With exhibitions by artists such as Tania
Bruguera or Anne Imhof.[242] In 2012 The Tanks at Tate Modern
were opened: the first dedicated spaces for performance, film and
installation in a major modern and contemporary art museum.
Marina Abramović performing The
The Museum of Modern Art held a major retrospective and Artist Is Present, MoMA, Nueva
performance recreation of Marina Abramović's work, the biggest York, 2010
exhibition of performance art in MoMA's history, from March 14
to 31, 2010.[243][244] The exhibition consisted of more than twenty
pieces by the artist, most of them from the years 1960–1980. Many of them were re-activated by other
young artists of multiple nationalities selected for the show.[245] In parallel to the exhibition, Abramovic
performed The Artist is Present, a 726-hour and 30-minute static, silent piece, in which she sat immobile
in the museum's atrium, while spectators were invited to take turns sitting opposite her.[246] The work is
an updated reproduction of one of the pieces from 1970, shown in the exhibition, where Abramovic
stayed for full days next to Ulay, who was her sentimental companion. The performance attracted
celebrities such as Björk, Orlando Bloom and James Franco[247] who participated and received media
coverage.[248]

Against the background of the institutionalisation of performance, the Bruxelles-based initiative A

Performance Affair[249] and the London-based format Performance Exchange[250] inquire about the
collectability of performance works. With The Non-fungible Body?, the Austrian museum and culture
centre OÖLKG/OK (https://www.ooekultur.at/event-detail/performance-festival-the-non-fungible-body?e
xpired&fbclid=IwAR2-U8j6DMO50ByKptigw2mSRNce_mx-ERd4OJ0NbKTp7r-p1-P4kh-3HGk)
reflects upon recent developments in institutionalizing performance through a discursive festival format
that was presented for the first time in June 2022.

Facade of the Guggenheim Work by Doris Salcedo in the Tate

Museum in Bilbao with a Yoko Modern in London, 2007
Ono Banner

Marina Abramović during her Zenith shot of the performance

seven performances in Seven The Artist Is Present in the
Easy Pieces (2005), in the Museum of Modern Art
Solomon R. Guggenheim
Museum
 Work by Marina Abramović Hermann Nitsch carrying out a
reproduced for the retrospective performance in his homonymous
in Bologna, Italy, 2018 museum (2009)

Performance by Bryan Zanisnik, Exhibition dedicated to Yoko Ono

called When I Was a Child I in the Cultural Metropolitan
Caught a Fleeting Glimpse, 2009 Centre of Quito (2018)

Collective revindication performance art

In 2014 the performance art piece Carry That Weight
is created, also known as "the mattress performance".
The artist behind this piece is Emma Sulkowicz who,
during her end of degree thesis in visual arts in the
Columbia University in the city of New York City. In
September 2014, Sulkowicz's piece began, as she
started carrying her own mattress around the
Columbia University campus.[251] This work was
created by the artist with the goal of denouncing her A Rapist in Your Path in the main street of Mexico
rape in that same mattress years before, in her own City
dormitory, which she reported and was not heard by
the university or the justice,[252] so she decided to
carry the mattress with her for the entire semester, without leaving it at any moment, until her graduation
ceremony in May 2015. The piece generated great controversy, but was supported by a bunch of her
companions and activists who joined Sulkowicz multiple times when carrying the mattress, making the
work an international revindication. Art critic Jerry Saltz considered the artwork to be one of the most
important of the year 2014. [253]

In 2019 the collective performance art piece A Rapist in Your Path was created by a feminist group from
Valparaíso, Chile named Lastesis, which consisted of a demonstration against the women's rights
violations in the context of the 2019–2020 Chilean protests.[254][255][256] It was first performed in front of
the Second Police Station of the Carabineros de Chile in Valparaíso on November 18, 2019.[257] A second
performance done by 2000 Chilean women on November 25, 2019, as a part of the International Day for
the Elimination of Violence against Women, was filmed and became viral on social media.[258] Its reach
became global[259][260] after feminist movements in dozens of countries adopted and translated the
performance for their own protests and demands for the cessation and punishment of femicide and sexual
violence, amongst others.[261]

Companions of Emma Sulkowicz Sulkowicz with the instructions for

and the artist herself carrying the her performance in the Columbia
mattress to the graduation as a University
complaint

Part of Sulkowicz's performance, Sulkowicz's portrait in one of the

an action called "Llevemos el presentations of the work
peso entre todas" (Carry That
Weight Together)
Roberta Smith, New York Times Mexican interpretation of A Rapist
art critic (left), discussing in Your Path in Oaxaca,
Mattress Performance with November 27, 2019
Sulkowicz, Brooklyn Museum,
December 14, 2014

A Rapist in Your Path presented Peruvian interpretation of A

in the context of the 2019–2020 Rapist in Your Path in Lima,
Chilean protests December 12, 2019

A Rapist in Your Path presented A child intervening during the

in the context of the 2019–2020 performance of A Rapist in Your
Chilean protests Path
See also
ART/MEDIA
Classificatory disputes about art
COUM Transmissions
Danger music
Digital Live Art
Flash mob
Graphic arts
Guerrilla theatre
List of performance artists
Living statue
New media art
Noise music
Poetry slam
Radio drama

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External links
Live Art Archives at the University of Bristol Theatre Collection (http://www.bris.ac.uk/theatre
collection/liveart/liveart_archivesmain.html)
Thomas Dreher (http://dreher.netzliteratur.net/2_Performance_Kunst_Titel.html): Intermedia
Art: Performance Art (most articles in German)

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