Art performance

Presentation

The performance is essentially a transitory Art which leaves few objects behind him. Certain historians of art locate the origin of the performance in practice ritual or rites of passage observed since the origin of the Homme. From an anthropological point of view, the performance appeared and defined various manners through the Culture S and the ages. ”. Perhaps according to Richard Martel, art performance constitutes the artistic shape oldest of humanity. A thing seems nevertheless clear: the body, the Time and the space generally constitute basic materials of a “performance”.

In the Tradition of the Contemporary art Occident Al, there exist several terms indicating of the types of performances being attached to various traditions. The “concrete performance”, is primarily a behavioral artistic action undertaken by one (or of) Artiste (S), vis-a-vis a public; the “operation” activates an attempt at behavioral infiltration of the Environnement by the artist and of the extension cables objects; the happening; the “Poetry - action”, expression suggested by Bernard Heidsieck, one of the founders of sound poetry, concerns the setting in situation of an action implying the text and the presence; the “built situation” is an action directed towards social fabric; the “corporal art” or “body-art” of the Sixties and Seventies defines a practice where the limits of the body are put to the test within an artistic framework and where the artist aims at testing and to make divide a work in which the body is put in a state of cognitive or expérientielle destabilization. Other artistic traditions propose other concepts of performance. For example, in the tradition of the contemporary art Javanese, one proposes as of the years 1990 the concept of “Jeprut”, a spontaneous behavioral action, without duration predetermined and being able to be held on an unusual temporal scale.

Because of their characters often monstratifs, calling upon a certain form of representation, certain performances borrow sometimes elements from the theatrical language . But their monstrations, more based on the idea of process, raise of situations based on a temporal structure of unfolding that to the theater. Contrary to the theater where time is built in manner purely nelle Fiction, “in situ” time and space often constitute the essential components of the practice of the performance. Thus, if one puts it in parallel with the literary tradition , the Prose could be with the theater what poetry would be with the performance.

Practical " intermedia" , with the direction given by Dick Higgins in this term, the performance can find its origin in all the sectors of the art of which it scrambles the borders and mixes the categories even if it is obvious that, according to the sociocultural context where the term “performance” is used, it includes - or excludes - certain artistic disciplines in its production process. It can also borrow elements from the art of cooking, the Technologie, the popular art or even sometimes with economic activities socio- where the body is used at commercial ends (like the Microchirurgie at Orlan, Pornography at Cosey Fanni Tutti, etc). Thus, a performance can indifferently occur by one or more médiums, Médias or even media of mass.

Pink Lee Goldberg considers that the futuristic poets as Marinetti made “performances”. The majority of the artists of Fluxus were in the beginning Compositeur S (Nam June Paik, Yoko Ono, Assembles It Young) or poets (Alison Knowles), not necessarily plastics technicians (although of another Fluxus artists like Jean Dupuy or Ben Vautier started like painter S), and they founded during the years 1960 - inspired by the lesson of John Cage - bases of the Western post-modern performance. At present the " term; of install' action" , proposed by the group Akenaton (artist) about the middle of the Eighties and since then returned in the use, intends to underline in addition to that of the " body performatif" the role of the taking into account of space, the objects and the total context to characterize the performance.

The performance can be an art of the immediate Risque, presented in public, moreover often in interaction with the members of this one.

The performance rises most of the time from a work related to the concept of formulation and in extension, in the form of text which results is product either au préalable, or a posteriori. Born in a modern from the Image, often transitory context of reproduction and évanescente, it calls into question the concept of Marchandisation of the object of Article In such a context, the problem of the representation for the artists of performance proves to be important. The representation, translated in the form of a “Spectacle” comprises certain ideological problems that active artists in “art action” denounced as of the beginnings (particularly among the Futuristic ones and, later, by the happening of Allan Kaprow, then by the Situationniste S, as testifies certain passages to them to the book “the Company of the Spectacle” of Guy Debord). Thus a whole movement of the performance calls upon the installation of situations aiming at infiltrating social fabric (see for example, the Sociological art). With the appearance of the “relational practical” and new tools of Communication at the end of the XXe century, the artists who work in this manner are multiplied since the years 1990.

It is difficult to define precisely the practice constantly changing of the performance, because it consists primarily of a redefinition of the methods of use of the artistic languages, and not that of an inscription in a tradition other than that which it itself created.

Famous artists of performance

See too

External bond

Objects of performance, objects of the performance , a bibliographical selection, Univ. Lyon 2.
poetic ART ACTION, Performers and performances

contemporary videos and theoretical texts, AKENATON_DOC (K) S.

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