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Session #4 Installation and Performance Art v2

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Session #11 - Presenting a Mock Performance/Project

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Session #11 - Presenting a Mock Performance/Project

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Session #13_Presenting a Mock Solo Performance

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G18 Assignment Brief Musical Theatre 2024 - 2025

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Session #1 - Introduction to Solo Performance

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Session #1 - Introduction to Solo Performance

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Grief experience

Talk about my experience but also explain what could be others experience on it

everyone has there own way of dealing through it. Why it’s important to know how to deal with it in a safe way. Do my feelings with grief through out the performance but have some information in the background about it.

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talking about experiences that people deal with and how they overcome it. I might also include a dance.

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Sukuna Vs Mahoraga English Dub | Jujutsu Kaisen (4K)

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Dita Von Teese closed Alexis Mabille's Couture show with a special dance performance Mabille's

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Tina Pyrcz | Contemporary solo - "In this Shirt"

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BoyWithUke "Ghost" (Live Performance) | Genius Open Mic

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Ed Sheeran - Bloodstream (Live on the Honda Stage at the iHeartRadio Theater NY)

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DV8 Physical Theatre | JOHN: Achievements

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George Sampson on Britain’s Got Talent: The Champions (21/9/19) #BGTChampions

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George Sampson on Britain’s Got Talent: The Champions (21/9/19) #BGTChampions

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Hyunjin "Play With Fire (Feat. Yacht Money)" (원곡 : Sam Tinnesz) | [Stray Kids : SKZ-PLAYER]

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Present it as sock puppets:

Two socks

Two hands

Hamm and Clov: Two characters

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2 mice + AI

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Performance art, Live art, Action Art, Body Art...

Books on Performance Art (short list - see literature section below for more)

Aravena, Christin ,Henaro, Sol, Moreno, Alejandra, Smith, Brian - Action art in Mexico

Forte, Jeanie - Focus on the Body: Pain, Praxix and Pleasure in Feminist Performance Art

Goldberg, Roselee - Performance Art: From futurism to the Present

Heathfield, Adrian - Live Art and Performance

Howell, Anthony

Jones, Amelia - Body Art / Performing the Subject

La Ribot, Maria - Art and Performance Live: La Ribot

Wark, Jayne - Radical Gestures: Feminism and Performance in North America

History of Performance Art
I have cobbled together a long / brief history of performance art h ere.
Why is this site interested in performance art worldwide?

As an open and experiential form, performance art is highly adaptable to cultural, political, and inter-sectional issues. Looking at how artists in different corners of the globe are approaching and adapting the form explores the boundaries of performance / live art. While performance art as specific form is relatively recent, art that engages, protests, and stretches the limits of what is acceptable in society is as old as civilization. How the live art form compliments and feeds these older traditions creates opportunities for distinct cultural expression in a form that is becoming global. This study also opens up new avenues of exploration for performance artists struggling to expand their voice.

Defining what performance is is slippery. Amelia Jones explains that "Body art and performance art have been defined as constitutive of postmodernism because of their fundamental subversion of modernism's assumption that fixed meanings are determinable through the formal structure of the work alone."

Live Art Development Agency says 'Rather than a description of an artform or discipline, Live Art is a way of thinking about what art is, what it can do, and where and how it can be experienced. Some may experience Live Art in a gallery, others in a theatre, and others still in forests or town squares, or as a process in which they are involved.'

Got it?

OK, Performance art has a basis in body-as-medium and from there deals with site, time and audience interaction. It can be based in visual arts, dance, theater, music/sound art/ installation, film, writing, activism - basically any and all art forms. Often there is a mix of forms.

One thing that this form has in common with conceptual art is the lack of commodification - that is, there is nothing to sell. The structure and even the meaning of the art may be hard to formulate (challenging the assumption that "fixed meanings are determinable through the formal structure of the work alone)", but the experience of the art is key to the form.

While some see action art / live art / action art as the same, not everyone agrees and there are reasons for differentiating these words (and also for not). In non-english speaking countries the terms action art or live art tend to be used more than the term performance art. This may because of meanings in other languages, or because of evolution of performance art or even because it may resist the colonization of the art that is being produced in those area.

From LADA: 'Live Art is influenced by late 20th century Performance Art, where visual artists, in a rejection of objects and markets, turned to their body as the site and material of their practice, and by multiple generations of artists who broke the traditions and expectations of theatre and dance.

Now, it incorporates a huge range of practitioners, from those working at the edges of theatre, dance, film and video, to performance writing, socio-political activism and the new languages of the digital age.

For many artists, Live Art is a generative force. It wants to shock, to destroy pretense, create sensory immersion, break apart traditions of representation, and open different kinds of engagement or interaction.

For others, Live Art can be a means of connecting people, places and ideas, becoming a form of community building and cultural empowerment.'

In this case, the definition of live art and action art could be said to be the same, while looking at performance art as a precursor to where the field is now. I would argue that it is also separating from the European roots of performance art, allowing non-European artists the room to decolonize their art process and work.

I may disagree with the notion that it was only visual artists who "turned to their bodies as site and material". My history has been from dance where as of the mid 20th century, artists like Anna Halprin, John Cage, Kei Takei, Kazuo Ohno, and Growtowski (dance, music, dance, dance, and theater respectively) were all breaking these barriers of form and material. We do hear a lot about the visual artists but there was much cross pollination through the arts.

The reasons and impetus behind performance artists around world is driven by a multitude of different forces, influences and circumstances which result in a regional and local approach to how this form is implemented. At the same time, the globalization of knowledge also creates a connection across the globe.

Questions to ponder as this form is studied-

What does Action art/ Performance Art/ Live Art address that attracts artists to it?

What underlying similarities run through this form around the world?

What personal/regional/genre differences run through this form around the world?

Literature (a not comprehensive list)

Aravena, Christin ,Henaro, Sol, Moreno, Alejandra, Smith, Brian - Action art in Mexico

Barber: The Function of Performance in Post Modern Culture

Belting, Hans, Buddenseig, Andrea, Weibel, Peter ed.: The Global Contemporary and the Rise of New Art Worlds

Besacier, Hubert: Cinc ans D"Art Performance Lyon - Five years of performance art in Lyon 1979-1983

Blocker, Jane: Where Is Ana Mendieta: Identity, Performativity and Exile (Durham and London: Duke University Press, 1999), 24

Bourriaud, Nicholas: Relational Aesthetics

Brady, Sara: Performance, Politics, and the War on Terror: 'Whatever it Takes' (Performance Interventions) 2012th Edition

Broms, Gustaf: 9Questions, an artist project by Gustaf Broms

Bruguera, Tania: Vigilantes: The dream of Reason

Bueys, Joseph: Image of Humanity

Butler, Judith: Performative Arts and Gender Constitution

Calirman, Claudia: Brazilian Performance Art, 1960s to 1980s: An Aesthetics of the Margins

Calirman, Claudia: Case Study: Antonio Manuel's Body Art and Media Appropriation

Cianetti, Alessandra: Performing Borders - A study room guide on physical and conceptual borders within Live Art

Couillard, Paul: From Ironic to Iconic: The Performance Works of Tanya Mars (2009)

Couillard, Paul: La Dragu: The living Art of Margaret Dragu (2002)

Couillard, Paul and Liva, Alexandra: Alain-Martin Richard: Performances, Manoeuvres and Other Hypotheses for Disappearing (2014)

Finley, Karen: Constant State of Desire

Forte, Jeanie: Focus on the Body: Pain, Praxix and Pleasure in Feminist Performance Art

Fusco, Coco: The Other history of Intercultural Performance

Gilroy, Paul: The Negative Dialectics of Conviviality

Goldberg, Roselee: Performance Art: From futurism to the Present

Gomez-Peña, Guillermo: Ethno Techno

Graver, David: Violent Theatricality: Displayed Enactments of Agression and Pain

Gray, John. Action Art: A Bibliography of Artists' Performance from Futurism to Fluxus and Beyond. Westport, CT: Greenwood, 1993.

Gubord, Guy: Theory of the Dérive

Heathfield, Adrian: Live Art and Performance

Hincapie, Maria Teresa: Accion, Corporeidad y el Dominio de lo Feminino en Columbia

Howell, Anthony: Being Clothes: The Analysis of Performance Art

Huxley, Michael, and Noel Witts, eds. The Twentieth Century Performance Reader. London and New York: Routledge, 1996.

Irwin, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall, 2006.

Jakovjevic, Branislav: Alienation Effects: Performance and Self-Management in Yugoslavia, 1945-91

Jones, Amelia: Body Art / Performing the Subject

Jones, Amelia: Pollackian Performative

Kaprow, Alan: Happenings in the New York Scene

Kaye, Nick: Site-Specific Art Performance Place Documentation

KAJIYA Kenji: Japanese Art Projects in History

KuroDalaiJee or Kuroda Raiji: Video Screening of Performance Art in the 1960s Ja pan

Krauss, Rosalind: he Originally of the Avant-Garede and Other Moderist Myths, MIT press 1986

Kwok Kian Chow: Channels and Confluences - A History of Singapore Art, Singapore Art Museum 1996

Kwon, Miwon: One Place After Another: Notes on Site Specificity Space, Site, Intervention: Situating Installation Art pp38-63 University of Minnesota Press

Kwon, Miwon: Genealogy of Site-Specificity

La Ribot, Maria: Art and Performance Live: La Ribot

Lamarque, Peter, Stein Haugom Olsen: Aesthetics and the Philosophy of Art: The Analytic Tradition: and Anthology, Blackwell, 2004

Langenbach, Ray: Performing the Singapore State 1988-1995 PhD Thesis Center for Cultural Research University of Sydney aug 2003

Lasch, Christopher: The Culture of Narcissism: American Life in an Age of Dinimishing Expectations, W.W. Norton London 1991

Lee Wen: A Waking Dream drawings and poetry 1981 Select Books, Singapore

Lee Wen: The Future of Imagination 3, Catalog, Singapore 2006

Lee Weng Choy: Chronology of a Controversy and A Review of Joseph Ng's Performance edited S.K. Sanjay Krishnan 1996

Lee Weng Choy, Ansar Sadali: Lim Tzay Chuen Makes a Proposition Broadsheet Vol. 33 No. 2 2004 p 33-34

Lippard ,Lucy: Six Years: The dematerialization of the art object from 1966 to 1972 (ny Praeger 1973)

Marcal, Helia, Matos de Oliveira, Fernando, Barques, Bruno, Mourao, Rui, PINA, Osnia, Carmo, Alexandra: Portuguese Performance art: Special Issue

Maretti, Franco: Dialectic of Fear, New Left Review 136 (Nov. Dec>) p 67-85 1982

Martel, Richard ed: Art Action 1958-1998 Quebec 2001

Mbembe, Achille: On the postcolony, Berkeley, University of California Press, 2001

McLuhan, Marshall: Understanding Media: The Extensions of Man, Ginko Press, 1964

Mengesha, Lilian: Indigenous Theater

Metello, Verónica: Fr om first Portuguese Performance Art to Transmission MoMA, Varsóvia, 2015

Meyer, Mónica: Mujeres y Performance en México

Meyerhold: The Biomechanics of worker management theory

Miller, Tim: My Queer body

Miller, Tim and Roman, David: Preaching to the Converted

Muñoz, José: Performing Disidentifications

Munroe, Alexandra: Japanese Art after 1945: Scream Against the Sky, Harry n Abrams NY 1994

O"Donnell, Darren: Social Acupuncture

Petrešin-Bachelez, Nataša: Resilient Practices: A Few Case St udies on Performances in Public Spaces and their Controversies in the former Eastern Europe

Phelan, Peggy: Ontology of Performance

Pope, William: Sandwich Lecture

Ramirez, Mari Carmen, and Héctor Olea, eds. Inverted Utopias: Avant-Garde Art in Latin America. New Haven, CT: Yale University Press, 2004.

Sandoval, Rosemberg: artist catalog 2004, Bogota

Schneider, Rebecca: Explicit Body in Performance

Shanken, Edward A., ed. Art and Electronic Media. London and New York: Phaidon, 2009.

Smith and Sawchyn: Fluxus Performance Workbook

Somaya, Sandra: Primer Encuentro Mundial de Arte Corporal (caracas: Ministerio de la Cultura 2006)

Stiles, Kristine: Performance Art

Stiles, Kristine, and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings. Rev. ed. Berkeley: University of California Press, 2012.

Wagner, Anne: Performance, Video, and the Thetoric of Presence

Wark, Jayne: On the Road Again: Metaphors of Travel in Cultural Criticism in Resident Alien: Feminst Cultural Criticism Cambridge 1995

Wrights and Sites: A manifesto for a new Walking Culture

Wu Hung, and Peggy Wang, eds. Contemporary Chinese Art: Primary Documents. New York: Museum of Modern Art, 2010.

Resources (completely not comprehensive)

Performance Art Festivals and Presenters

Artists at Risk Resources

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What is Performance Art / Live Art / Action Art? - Performance Art Resources

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Books on Performance Art (short list - see literature section below for more) Aravena, Christin ,Henaro, Sol, Moreno, Alejandra, Smith, Brian - Action art in Mexico Forte, Jeanie - Focus on the Body: Pain, Praxix and Pleasure in Feminist Performance Art Goldberg, Roselee - Performance Art: From futurism to the

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Tehching Hsieh, photographed in New York on July 29, 2020. Credit... Amiko Li

In a time of crisis with no end in sight, durational performance, or endurance art, surfaces in our consciousness. Is this the art of our age?

Tehching Hsieh, photographed in New York on July 29, 2020. Credit... Amiko Li

On the last day of September in 1978 - as the New York City newspaper strike dragged into its second month, Exile's "Kiss You All Over" became the No. 1 song in America and Andy Warhol attended a screening of Jack Nicholson's new western, "Goin' South" - a then 27-year-old unknown artist named Tehching Hsieh began one of the century's most harrowing art pieces.

Hsieh had constructed an 11.5-by-9-by-8-foot wooden cage in his studio in Manhattan's TriBeCa neighborhood, and that day he locked himself inside, vowing that he would remain there for one year. He would do pretty much nothing: not read, write, talk or otherwise engage himself in any activities. A friend, the photographer Cheng Wei Kuong, started regularly delivering food, photographing him and disposing of his waste bag. One year later, on Sept. 29, 1979, Hsieh stepped out of his cage. Just over six months after that, he began the second of what would be five such works, each titled "One Year Performance." This time he punched a clock in his studio at the top of every hour. "It was like being in limbo, just waiting for the next punch," he told The Guardian in 2014.

The curatorial term for Hsieh's work is "durational performance" or "endurance art," which is about, and frequently involves, sustaining something - be it life, thought or action - for a long, long while. Another way to think of it is as waiting art: work that addresses what it means to live with uncertainty and to keep going, often with no clear end in sight.

Hsieh is a pioneer of this medium. "To me, he's a master," the artist Marina Abramovic, another practitioner of long-length performance, said by phone from upstate New York in early May. "I am just a little student of him." For her 2010 piece " The Artist Is Present," which she performed at her Museum of Modern Art retrospective of the same name, Abramovic spent nearly three months sitting on a wooden chair inside the museum for eight or 10 hours a day. People lined up to sit across from her, including Hsieh himself. "Three months - it's nothing next to one year," Abramovic said.

Marina Abramovic, left, in the atrium of the Museum of Modern Art during her 2010 performance piece "The Artist Is Present." Credit... Ruth Fremson/The New York Times

In late March, two weeks into New York's coronavirus lockdown, I emailed Hsieh to see what he made of the situation and how he was spending his time. "Right now, most of us have to be self-isolated in our own cage in order to survive," he replied. He declined to detail his own experience. "I'm sure everyone has their own way to pass time," he said, explaining that his "work is about passing time, rather than how to pass time."

But when I later proposed meeting up for an interview, he agreed. And so, early one morning in May, I met Hsieh near a towering apartment complex, across the street from the cozy cafe and Asian-food store that he and his ex-wife, Qinqin Li, run in the Clinton Hill neighborhood of Brooklyn. Hsieh, who is 69 and spry, is retired from art, though since the line between his work and his life was always so thin, there is a feeling that his store is both a nice neighborhood shop and an extended performance, a feeling that was compounded when I saw Ai Weiwei there awhile back, chatting with his old friend and former landlord.

Hsieh, who grew up and painted in Taiwan, had been in the United States illegally for four years when he locked himself in his cage. He had slipped away from the oil tanker he was working on when it was docked near Philadelphia and went by car to New York. He started working as a dishwasher. He wasn't making art objects, but he was doing a lot of thinking. From a certain perspective, he was wasting time. However, he realized he could make that the core of his practice. By undertaking a project that encompassed his whole life, he told me, "if I'm wasting time in art time, I'm working hard 24 hours."

Having to punch the clock every 60 minutes for his second "One Year Performance" meant confining himself within a roughly one-mile radius of his home so that he could make it back in time to perform this task. It's strange to think of Hsieh's work as relatable, but the pandemic made that the case, making New York - and many other cities - smaller in so many ways, keeping people within the few blocks around their apartment and turning borough crossings into complicated journeys. This kind of smallness led to unforeseen problems during Hsieh's performance. He'd be visiting a dentist in nearby Chinatown or attending a party, notice the time, and have to sprint back to his studio on his bike. Waking up every hour meant he also had to give up deep sleep. (Miraculously, he missed only about 1.5 percent of his hourly check-ins.)

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Hsieh in the wooden cage he constructed for his first "One Year Performance," begun in 1978. Credit... Photo by Cheng Wei Kuong © Tehching Hsieh, courtesy of the artist and Sean Kelly Gallery, New York

"It's not: Try to make it more difficult," he said of the works. "I tried to make it more clear." He wanted to pass time, to live inside of it. "Already, life, for everybody, it's not easy," he said. He hopped up and held his finger aloft. "One nail, right? If your body touched that, it'd be very painful." He glided his hand along the stone beneath him. "But if this is like a bed, a nail bed, I lay down, then you don't feel much pressure. You can stay longer. My work is more like a nail bed in that way."

It's no wonder that art about waiting seems to emerge in periods of trauma and crisis, whether personal or societal. At the very least, it becomes newly resonant at such times. And we have all been doing a lot of waiting these past months - for businesses and public spaces to reopen, for daily infections and death rates to tick downward, for an unemployment check to arrive, for a vaccine to be developed, for the opportunity to touch each other again.

Performance that focused on endurance first emerged as a dominant style in contemporary art in the late 1960s and early '70s, during the ascendancy of both Pop's sleek cynicism and the cerebral, deadpan humor of conceptual art. Durational art was a coalescing of radical protest, gaudy showmanship and absurdist action. One of the great early examples of the genre happened in 1974, when the Vietnam War was in its dark last days. It was then that the German artist - a former Luftwaffe pilot and pacifist - Joseph Beuys landed in New York from Düsseldorf, was wrapped in felt and taken by ambulance and then a stretcher into a SoHo gallery for his work " I Like America and America Likes Me." He spent three days, for eight hours a day, locked in a room with a coyote, before returning home by the same means.

Part of the reason waiting is such a powerful artistic practice is because the act itself is so intensely human, how it often involves the artist losing control - of time, of agency - or intentionally giving it up. The slowdowns, delays, closures and unexpected conclusions that transpire invite reflection both about institutional commitments, as well as about what we owe one another. This kind of art is both a confrontation and a provocation. Abramovic has spent nearly half a century in uncomfortable limbo states, in which waiting becomes a matter of extended drama and aching split-second decisions. In a gallery in Naples, Italy, in 1974, for her piece " Rhythm 0, " she stood for six hours in front of a table bearing dozens of items - among them a knife, a feather, a bullet and a gun - and waited for visitors to do what they wanted to her. Some cut off her clothes, but one person loaded the firearm, placed it in the artist's hand and raised it to her head - before another stepped in, pulling it away.

Hsieh clocking in during his work "One Year Performance" (1980-81). Credit... © Tehching Hsieh. Courtesy of the artist and Sean Kelly Gallery, New York. Photo: Michael Shen

The next year, a young artist named Chris Burden decided to lie behind a sheet of glass leaning diagonally against a wall at the Museum of Contemporary Art Chicago for a work titled " Doomed." The performance would end once someone intervened in the work in some way, though Burden did not tell anyone this was the case. Hours passed, and then a full day, and Burden was still waiting behind his sheet of glass. "On the second night, I thought, 'My God, don't they care anything at all about me?'" Burden told Roger Ebert, who covered the event for The Chicago Sun-Times. "Are they going to leave me here to die?" Finally, after 45 hours, a museum staff member set down a water pitcher next to him, drawing the work to a close.

Although waiting art found a new voice in the '70s, the challenge of waiting - of forcing the audience to look closer, to listen harder - appears in almost every artistic medium throughout history. In Erik Satie's " Vexations" (1893), which usually runs for more than 18 hours, a brief piano score is repeated 840 times. (The German pianist Igor Levit actually performed it via live video from a recording studio in Berlin during the lockdown.) Douglas Gordon's " 24 Hour Psycho" (1993) slows down the 109-minute Hitchcock classic so that it lasts a full day. Leif Inge's " 9 Beet Stretch " (2002) plays Beethoven's Ninth Symphony over that same period, morphing it into a majestic tone poem - pure atmosphere. What are crucifixion scenes if not early examples of waiting art? Jesus hangs on the cross, awaiting death. Believers gaze upon him, anticipating his return. Waiting has been a central theme in Western art since the "Odyssey," in which Penelope demands that her suitors leave her be until she completes a burial shroud for Odysseus' father. She works on it by day and unravels her progress at night, buying herself three years, during which time the suitors sit around her house, waiting (not exactly patiently) for her to finish.

It was Samuel Beckett who, in the wake of World War II, wrote the essential text about the despair of waiting - the 1952 play " Waiting for Godot," in which two men sit among a desolate landscape, expecting someone who never arrives. "He saw the ruins of Europe," the artist Paul Chan, who staged a 2007 production of the play in New Orleans in the wake of Hurricane Katrina, said via Skype from Framingham, Mass., in April. "He lived through it, and he was in the French Resistance. I think he understood on an emotional and intellectual level and maybe even an aesthetic level what it means to cobble together whatever is available to just go on."

When Chan first visited New Orleans the year after the hurricane, the battered streets of the city's Lower Ninth Ward made him think of "Godot." The play had a history of being performed in the South, as the artist soon learned from local theater veterans like the poet Kalamu ya Salaam and the late John O'Neal, a founder of the integrated Free Southern Theater, which moved to New Orleans in 1965. The F.S.T., which was first based out of Tougaloo College in Mississippi in 1963, had made it one of its touchstone pieces when it toured the South in the '60s. "That was old hat," Salaam, a former F.S.T. member, told me of "Godot." Chan's production, for which he partnered with the public arts organization Creative Time and the Classical Theater of Harlem, was staged five times in two heavily damaged neighborhoods of New Orleans in November 2007. Wendell Pierce and J. Kyle Manzay starred. The project also involved local workshops and a fund that aimed to match the show's budget, which was then given toward hurricane recovery efforts. The play shows "the quiet courage, and also the banter that people go through when they wait," Chan said, "and the kind of little things that we do to keep ourselves interested so that we don't think about the oblivion around us."

J. Kyle Manzay, T. Ryder Smith and Wendell Pierce in the artist Paul Chan's "Waiting for Godot in New Orleans" (2007), which featured a staging of Samuel Beckett's 1952 play in the city's Lower Ninth Ward. Credit... Courtesy of the artist, Greene Naftali, New York, and Creative Time, New York

Another work that emphasizes waiting that feels especially prescient now, when galleries and museums across the world have shut down, is Robert Barry's 1969 conceptual piece " Closed Gallery," in which he asked three galleries to close for different periods of time. For the work, each gallery mailed announcement cards to patrons and press saying that they would be closed during the show. It was an attempt to pause the churn of commerce - pushing off financial (and aesthetic) gratification for a later date and, more philosophically, an inquiry into where, exactly, art functions. As with today's lockdowns, there was wrangling over the rules. The dealers "said, 'Well, can we do some office work in the back?'" Barry has remembered. "And I said: 'Yes, OK. You can go in the back entrance.'" Viewers were turned away, but business continued - partially, remotely.

The frustration that work encouraged speaks to the reality of the past half-year, where there has been, for many of us, nothing to see or experience, but only questions: How will this work? When will it stop? Perhaps even, on a bad day, what's the point? That there are no good answers to these questions is the point. While one is doing it, waiting is the absence of something - of energy, of time, of something to do. Art takes this absence and makes sense of it, keeping us company through the long duration. "We are no longer alone, waiting for the night, waiting for Godot, waiting for ... waiting," as one character pronounces in "Godot" after two other men traipse onto the stage. "All evening we have struggled, unassisted. Now it's over. It's already tomorrow." Alas, it is not over. Neither one of the new arrivals is Godot. But our protagonists will be able to go on for a little while longer. "One very important rule when you do long durational performance," Abramovic said, "is not to think about time. Because when you think about time, you are lost. You're thinking always about the end of the day." That could apply to any of us who are waiting - in quarantine, or just in life.

Eventually, though, the wait ends, one way or another. On Dec. 31, 1999, his 49th birthday, Hsieh finished a 13-year piece that consisted of not showing the art he made during that time. He created a collage with text that reads, "I kept myself alive," which he issued the next day. He has not presented any new work since then, but when I asked if he missed art, he looked puzzled. I had not understood his position. "My work is not like an art-world definition of art," he said. "It's more like what you think about life."

"To me, art and life, it's no difference," he said at one point. The work is in the living.

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Art About Waiting - and What It Takes to Endure

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In a time of crisis with no end in sight, durational performance, or endurance art, surfaces in our consciousness. Is this the art of our age? Tehching Hsieh, photographed in New York on July 29, 2020. Credit...

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All performance takes place over time, but there are works that specifically address time as a part of the art.

Examples of durational art include Chris Burden's Five Day Locker Piece (1971), Tehching Hsieh's One Year Performance 1980-1981 (Time Clock Piece), and Marina Abramović's The House with the Ocean View (2003), where she lived silently for 12 days without food or entertainment. The physical stamina required for some of these works is significant, and artists like Abramović have even created "boot camps" for participants in her multiple-person performances. Durational performances are often challenging both for the artist and the audience, pushing the limits of attention spans and endurance.

Notable durational artists from South America, include Brazilian multimedia artist Paulo Nazareth, who famously traveled on foot from Minas Gerais to New York as part of his decade-long performance art piece . Another Brazilian artist, Laura Lima, has created durational performances such as "Man falls from building", where a performer descends slowly down the facade of a building over the course of several hours. In Chile, artist Bruna Truffa has staged "immersive durational performances" that invite the audience to participate in activities such as cooking or cleaning. Argentine artist Marta Minujín created a 60-hour performance piece in which she and several other artists built a massive "obelisk" out of books that had been banned by the Argentine government. The piece was eventually burned as a statement against censorship. These are just a few examples among many in the thriving contemporary art scenes across South America.

Marilyn Arsem

Chris Burden

André Lepecki

Paolo Nazareth

Jefferson Pinder

Ernesto Pujol

Oupa Sibeko

Tehching Hsieh

Zhang Huan

Bao, Weihong et al., Reflections onDurational Art, Berkeley: University of California Press Books Division

Bretkelly-Chalmers, Kate; Time, Duration and Change in Contemporary Art (Book), Beyond the Clock - ISBN 9781783209194

Brown, Sierra, Discover endurance art

Coogan, Amanda, Deconstructing and re-constructing instances of live durational performance art : yellow-re-performed

Exit Art, Endurance Art, The MIT Press

Faedra Chatard Carpenter, Coloring Whiteness: Acts of Critique in Black Performance (Ann Arbor: University of Michigan Press, 2014).

Forte, Jeanie: Focus on the Body: Pain, Praxix and Pleasure in Feminist Performance Art

Layton, James; Bergson and durational performance : (re)ma(r)king time

Lemon, Ralph; Duration

Mueller, Ellen; Elements and Principles of 4D Art and Design

Oliver, Valerie Cassel; "Putting the Black Body on the Line: Endurance in Black Performance" in Radical Presence: Black Performance in Contemporary Art Catalogue (Houston: Contemporary Art Museum Houston, 2013), 14.

Oliveros, Pauline; Duration

Pagnes, Andrea (VestAndPage); Two Bodies in Space, Durational Performance: The Quest for Authenticity in the VestAndPage Experience

Prasad, Aarathi, Frida Kahlo: endurance and art

Quick, Sophie, Putting in time : long-durational performance art spectatorship

Karen Gonzalez Rice. Long Suffering: American Endurance Art as Prophetic Witness. Ann Arbor: University of Michigan Press, 2016. 206 pp., 15 b/w ills.

Lara Shalson, Performing Endurance: Art and Politics since 1960.

Suk, Jan; Performing Immanence : 5 Durational Performances of Forced Entertainment

Tankha, Akshaya, An Aesthetics of Endurance Art, Visual Culture and Indigenous Presence in Nagaland, India

Tayler, Diana; Trauma as Durational Performance

Truax, Raegan; Durational Performance: Temporalities of the Untimely Body

Wooden, Isaiah Matthew, Jefferson Pinder and the Art of Black Endurance

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Durational and Endurance Performance Art - Performance Art Resources

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All performance takes place over time, but there are works that specifically address time as a part of the art.

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Session #3 - Endurance Art and Durational Performance 

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Session #3 - Endurance Art and Durational Performance 

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Creating the story behind the story

Always think about what you are trying to say

Write See/C/Sea/Si - You've got to be clear what the outcome is for the audience

Look back to look forward

Roots and Seeds are you starting point

Don't be afraid to make mistakes

Keep every idea

How do you start that first idea?

Face your fears

Images are a good way to say what you want to say

Ask the questions that need asking

Context of Quantity

Write everything down!

Evidence your development of the project on Padlet

Plan the project, and not just the creativity

Ask for feedback and use each other

You need help. You need support

You can change idea - but document the evolution of the idea

Take every opportunity

BELIEVE IN YOURSELF

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Welcome to Flower Power Book

Flower Power Book is for children everywhere - the child of today, the child within us and for anyone who has responsibility for the care and nurture of children.

This project is centred around the picture storybook, Flower Power! and its accompanying set of 8 original songs and 3 pieces of instrumental music:
'The little flower lives in the corner of the garden. Can she survive the dangers that she meets there?'
With hand-drawn illustrations Flower Power! is a picture storybook with a strong message, and a very happy ending!

It is about love and encouragement, resilience and perseverance; it questions how we care for the world, how we care for each other - how we live our lives - in a way that is easily understood by young children and adults alike.

For Primary Schools and Home Education, we provide PSHE, curriculum enrichment, mental health and wellbeing resources for children aged 4 to 11 years; time saving materials for teachers, suggestions for activities and worksheets for EYFS, KS1 and KS2 are suitable for a whole term's classwork or to dip into as required, for nurture group activities or one-to-one emotional support. Flower Power! can also be performed as a KS1 Musical, makes an ideal whole school Community Project and is compatible with Forest Schools.

If you are a parent, grandparent, carer or friend we hope that the Flower Power! picture storybook and songs will likewise enrich your 'parent and child' reading time, inspire you to enjoy the 'great outdoors' together and give you some ideas for art and craft fun!

We hope that you enjoy your visit to the Flower Power Book website; we hope that the book, songs and music will speak for themselves and, if you are a teacher, that you find the resources helpful to you in your work.

Thank you very much; we look forward to hearing from you!

All good wishes,
Flower Power Book
"It fits in with so many of our topics - it's nice how it's all there, and it's different from anything else that you can buy off the shelf." Kathryn Helm, Tynsel Parkes First School, Uttoxeter

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Flower Power Book - Caroline Wedd | PSHE for Primary Schools

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Flower Power Book is for children everywhere - the child of today, the child within us and for anyone who has responsibility for the care and nurture of children. This project is centred around the picture storybook, Flower Power!

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The difference before and after music has been applied to a project idea

What are the effects of music?

Be tenacious

Be adaptable

You have to be able to take on multiple jobs to achieve

1 job won't pay the bills

Have conversations with people who can further your career

Have complete control over your own medium

Know your own profile

Work the room. Work every room.

Make sure you are in the canteen queue.

Rushes = rough edits

You can't do right for doing wrong. So do it how you want.

Make sure you create multiple iterations of the same thing with small alterations - Soundtrack example to BBC Holocaust video

Make sure you choose music that fits

Be responsible for your own work

DRAFTS. DRAFTS. DRAFTS.

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Paul Honey is a British composer. Born near London, his musical career started when he became a chorister of Westminster Abbey. Since graduating from Southampton University, where he studied musical history, orchestration and composition, he has enjoyed a highly varied musical life as a performer, producer, arranger, orchestrator and composer.

After a successful career as a TV and Film composer, he now focuses his attention on composing concert works for various instrumental and vocal ensembles.

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Paul Honey Composer and arranger. Concert, Film and TV music.

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Paul Honey is a British composer. Born near London, his musical career started when he became a chorister of Westminster Abbey. Since graduating from Southampton University, where he studied musical history, orchestration and composition, he has enjoyed a highly varied musical life as a performer, producer, arranger, orchestrator and composer.

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Elise Brassington - Jukebox Musicals/Acting Through Song

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Elise Brassington - Jukebox Musicals/Acting Through Song

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Performance: 28 August 2002, Oxford Street, London
Exhibition: 27-30 March 2003, Tate Modern, London
Broadcast: 18 September 2004, Channel 4 Television
29 June-22 July 2006, Points d'impact, Piano Nobile, Geneva
4-6 October 2007, Granary, Cork
4 October-18 December 2007, The Grey Room, Teater Giljotin, Stockholm
20-30 November, 2007, Videofronteras, La Casa Encendida, Madrid
24-26 January, 2008, Excursions Festival, Limerick City Art Gallery

A five minute video infotainment.

What is live art? Well, at its most fundamental, Live Art is when an artist chooses to make work directly in front of the audience in space and time. So instead of making an object, or an environment (a painting for example) and leaving it for the audience to encounter in their own time, Live Art comes into being at the actual moment of encounter between artist and spectator. Or at least even if they are not physically present, the artist sets up a situation in which the audience experience the work in a particular space and time, and the notion of 'presence' is key to the concerns of the work.

The term 'Live Art' came into usage in the UK in the mid-1980's, and was born out of a frustration by arts professionals to account for art practices that expanded or escaped the classifications in use. Artists were making work that wasn't quite dance, that couldn't be called theatre, that didn't fit into any of the categories on offer.

While Performance Art had been an established genre in the US since the 1970's, the term 'Live Art' was an attempt to acknowledge the diversity of live based arts practices.

Live Art may incorporate many other elements than performance but is founded in a conceptual framework where the performer, the director, the 'doer', is the artist. The physical body, even if present in the same space as the audience, is not necessarily 'performing'; certainly not in the theatrical sense of 'pretending to be someone else'.

Live Art offers a haven to artists whose work does not comply with the strictures of traditional designations and gives those practices legitimacy within contemporary culture.

But although the term 'Live Art' is relatively new, live art practices and methodologies have a clear history and lineage.

There have always been artists who have worked at the margins of their discipline, experimenting outside the established norms of what it means to be a sculptor, a dancer, an actor.

Many artists have left the galleries and the theatres and seek more public and specific sites to make their work. The city itself has become a gallery. For some, this has been a reaction to the commercial art-market, where objects become discrete commodities which are bought as investments, accrue value, and are sold on.

They choose to reject this commodity fetishism by creating work which vanishes once it has been made, that deals with the here and now, and that can rarely be hung on a gallery wall.

A Live Artist may find their concerns rotate around issues of form, experimenting with the possibilities of a performance or an event. They may be concerned with the politic of the body; artists who have found their bodies marginalised (because they are women or black for example) position their bodies at the forefront of their work as a way of taking control of the discourse around their body. In an increasingly technological age, the cyborg artist has extended the body through electronic media; the body becomes just one element in an interconnecting network of processes.

But at least part of the definition of Live Art has to be its resistance to definition. Maybe it's called 'live' precisely because it hasn't yet solidified into a category; it is a live process of change and challenge. In a cultural climate of 'Plain English' and 'Transparency' this slippage, perhaps above all else, makes it a provocative place to be making work at the beginning of the twenty-first century.

© Joshua SOFAER August 2002
Camera: Sam Montague
Sound: Chris Duncan-Brown
Production Co-ordinator: Victoria Phelan
Production Manager: Jonathan Warne
Editor: Akiko Matsuura
Director: Rupert Edwards
Producer: Martine D'anglejan
Still Photography: Manuel Vason
Concept, Script, Delivery: Joshua Sofaer

With thanks to: Live Art Development Agency, Live Art Magazine, Mark Waugh, Jane Thorburn, After Image, Ideal World Productions.

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Performance: 28 August 2002, Oxford Street, LondonExhibition: 27-30 March 2003, Tate Modern, LondonBroadcast: 18 September 2004, Channel 4 Television29 June-22 July 2006, Points d'impact, Piano Nobile, Geneva4-6 October 2007, Granary, Cork4 October-18 December 2007, The Grey Room, Teater Giljotin, Stockholm20-30 November, 2007, Videofronteras, La Casa Encendida, Madrid24-26 January, 2008, Excursions Festival, Limerick City Art Gallery A five minute video infotainment.

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Installation artworks (also sometimes described as ' environments') often occupy an entire room or gallery space that the spectator has to walk through in order to engage fully with the work of art. Some installations, however, are designed simply to be walked around and contemplated, or are so fragile that they can only be viewed from a doorway, or one end of a room. What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art. As artist Ilya Kabakov said:

The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.

Installation art emerged out of environments which artists such as Allan Kaprow, made from about 1957 onward, though there were important precursors, such as Kurt Schwitters's Merzbau 1933, an environment of several rooms created in the artist's own house in Hanover. In an undated interview published in 1965 Allan Kaprow said of his first environment:

I just simply filled the whole gallery up ... When you opened the door you found yourself in the midst of an entire environment ... The materials were varied: sheets of plastic, crumpled up cellophane, tangles of Scotch tape, sections of slashed and daubed enamel and pieces of coloured cloth ... five tape machines spread around the space played electronic sounds which I had composed.

From the 1960s the creation of installations has become a major strand in modern art. This was increasingly the case from the early 1990s when the 'crash' of the art market in the late 1980s led to a reawakening of interest in conceptual art (art focused on ideas rather than objects). Miscellaneous materials (mixed media), light and sound have remained fundamental to installation art.

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Tate glossary definition for installation art: Mixed-media constructions or assemblages usually designed for a specific place and for a temporary period of time

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Installation art is one of the most powerful and immersive of all art forms. In contrast with traditional mediums such as painting and sculpture, installation art is designed to fill whole rooms or even entire gallery spaces. Emerging as a bona fide art movement in the 1960s, installation art has since become one of the most popular and widespread strands of contemporary art practice, with artists embracing ever more adventurous and playful ways of transforming the gallery experience.

Many artists design tailor-made installation art to fit into a certain space, changing it into an entirely new arena. Scaffolding, false walls, mirrors, and even have filled contemporary art spaces, while light and sound effects are also a common feature. Audience interaction is a vital aspect of installation art; visitors have been encouraged to crawl under huge towers, squeeze past giant mushrooms, or trigger sensors with the movement of their body. The rise of entire playgrounds digital technology has undoubtedly impacted this interactive strand of installation art, offering artists a vast wealth of new possibilities like never before.

A Brief History of Installation Art

Installation art arose as an art movement in the early 1960s, but before then the seeds had already been sown. In 1923 Russian Constructivist El Lissitsky first explored the interaction between painting and architecture with his world-renowned where two and three-dimensional geometric shards interact with one another in space. Ten years later German artist Kurt Schwitters began making his ongoing series of constructions titled from assembled panels of wood that seem to grow outwards from the walls. French Surrealist and Dada artist Marcel Duchamp was also one of the first to playfully experiment with how visitors navigate a gallery space by filling it with a complex web in Mile of String, 1942.

In the 1950s 'happenings' were all the rage across the United States, with artists including Claes Oldenberg and Allan Kaprow merging experimental performance art with crudely assembled objects, often with a politicized agenda. By the 1960s the term 'installation art' had been adopted by leading publications including Arts Magazine and Studio International to describe a huge rising trend for assemblages and environments. These artworks deliberately evaded the art market, since they were almost impossible to sell and had to be taken apart at the end of the exhibition. Instead, they have lived on through photographic documentation, known as an 'installation shot.'

Since this time installation art has remained a mainstay of contemporary art practice and it is more diverse and experimental than ever. From prismatic displays of digital data to teetering towers on the brink of collapse, here are some of the most revolutionary and influential installations from throughout art history.

2. Joseph Beuys, The End of the Twentieth Century, 1983-5

A giant of twentieth-century art , German sculptor Joseph Beuys made The End of the Twentieth Century, 1983-85 just a year before he died. Thirty-one hulking rocks of basalt rock were gathered together and strewn across the floor to create this installation art, each with its own unique sense of history, weight and character. Into each rock, Beuys drilled away a cylindrical hole in which he stuffed clay and felt. He then polished and reattached the drilled away pieces, leaving only the slightest trace of his artistic intervention in each one. In doing so, he collapsed together old/new, natural/man-made and difference/repetition. Beuys also referenced the dawn of a new century still weighed down by history as heavy as his basalt rocks, commenting, "This is the end of the twentieth century. This is the old world, on which I press the stamp of the new world."

3. Cornelia Parker, Cold Dark Matter: An Exploded View, 1991

British artist Cornelia Parker's Cold Dark Matter: An Exploded View, 1991, is one of the most striking and memorable installation artworks of recent times. To create this work, Parker filled an old shed with domestic junk including old toys and tools, before having the entire shed exploded in a field by the British Army. She then gathered together all the fragments left behind and suspended them mid-air as if permanently suspended in the 'b' of the bang. When set amidst eerie lighting these once familiar items become abstracted and unrecognizable fragments, while the title 'Cold Dark Matter' further emphasizes a sense of gothic mystery, referencing what Parker calls, "matter in the universe that hasn't yet been measured."

4. Damien Hirst, Pharmacy, 1992

Designed to resemble the cool, clinical atmosphere of an old-fashioned pharmacy, Damien Hirst 's 1992 contains a vast arrangement of pill packets, bottles and medical instruments set amidst an austere white backdrop. But his installation art is far too geometric and ordered to be real, with boxes and packages arranged into a neatly gridded system to resemble the clean purity of Minimalist art . Arranging pill packets into repeat patterns of enticingly bright colors highlights the seductive nature of pharmaceutical products, lending them all the desirability and danger of a sweet shop. This seductive quality of Hirst's installation highlights our modern-day obsession with medicine as a tool to extend our life expectancy without question, as Hirst explains, "We all die, so this kind of big happy, smiling, minimal, colorful, confident facade that medicine and drug companies put up is not flawless - your body lets you down, but people want to believe in some kind of immortality."

5. Carsten-Höller, Mushroom Room, 2000

With all the magical mystery of a childhood fairy-tale, Belgian artist Carsten Holler's Mushroom Room, 2000 is a treat for the senses. Holler deliberately selected the red-and-white agaric fungus because of its psychoactive qualities, grossly exaggerating their size, colors, and textures to amplify their dramatic impact. Suspending them from the ceiling upside down forces visitors to squeeze and duck their way through them, turning this installation art into an interactive experience that engages the entire body and mind. Holler likens the transformative power of these mushrooms to the act of viewing and interacting with a work of art, arguing both can induce the same mind-altering experience of imaginative awakening that is at the core of creative thinking.

6. Olafur Eliasson, The Weather Project, 2003

7. Anish Kapoor, Svayambh, 2007

Described by art critic Adrian Searle as "a very fine mess," British-Indian sculptor Anish Kapoor's Svayambh, 2007, is both ludicrous and astonishing. Made from 30 tonnes of soft wax and pigment, a slow train moves back and forth on a specially designed track between the pristine arches of the museum (he has made several versions for different institutions) leaving in its wake an unbelievably messy trail of sticky, gooey matter. Kapoor's installation art 'train' is a colossal 10 meters long and ignites our senses on numerous levels, through texture, surface, smell, and color; the distinctive shade of primitive red seen in this and many of his other works seems tied to our most basic and fundamental human instincts.

8. Yayoi Kusama, Infinity Mirrored Room - The Souls of Millions of Light Years Away, 2013

Japanese artist Yayoi Kusama 's Infinity Mirrored Room - The Souls of Millions of Light Years Away, 2013 is one of many immersive 'Infinity Rooms' which have fascinated gallery-goers around the world. Made by installing mirrored panels around the walls, ceiling, and floors of a small, enclosed space, Kusama then fills it with tiny networks of colored lights or objects that refract around the room and create the effect of endless, infinite space. Visitors entering her room walk along a mirrored walkway and see prismatic reflections of themselves scattered all around the room, surrounded by colored light. Much like entering a star-filled universe or merging into the digital superhighway, there's nothing quite like the experience of an Infinity Room.

9. Random International, Rain Room, 2013

10. Phyllida Barlow, Dock, 2014

The Legacy of Installation Art

Since its conception, installation art has remained one of the most dominating mediums of contemporary art. With advancing technologies, more artists are now focussing on interactive digital installations, and this advancement has opened doors to entirely new possibilities for installation art and its relevance in today's society. Its unifying power and immersive connection with the viewer makes installation art a revelation that continues to constantly reinvent itself.

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What Is Installation Art? 10 Artworks That Made History

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From pill packets and crumpled trash bags to mirrored rooms and giant mushrooms, installation art has provided some of the most adventurous and boundary-pushing masterpieces of all time.

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Video Evidence of Durational Performance

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Video Evidence of Durational Performance

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2024_2025_Level 3 Year 2_G18_Endurance Performance_1 hour 1.9

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Session #7 - Mock Performance Assessment

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Session #7 - Mock Performance Assessment

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Session #9_Preparing for a Mock Assessment

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Session #8 - Preparing for a Mock Assessment_Week 2

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Session #8 - Preparing for a Mock Assessment_Week 2

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Session #10_Preparing a Mock Performance_Week 2

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Session #9 - Preparing for a Mock Assessment_Week 3

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Session #9 - Preparing for a Mock Assessment_Week 3

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Session #11_Preparing a Mock Performance_Week 3

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Session #10 - Preparing for a Mock Assessment_Week 4

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Session #10 - Preparing for a Mock Assessment_Week 4

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Session #12_Preparing a Mock Performance_Week 4

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Please use this link to be sent to another Padlet where you will be able to upload your feedback to each of the mock performances.

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How To Record a Voice Over for a PowerPoint

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You must evaluate the overall effectiveness of the Performance Project and critically comment on how the performance met the aims of the project. It must also showcase your full development and understanding of the chosen group/ target audience.

This may be in the form of a presentation or written evaluation

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🔍 What You’re Being Asked to Do

You need to write an evaluation that includes:

1. How effective the overall performance project was

2. Whether and how the performance met the original aims/goals

3. Your own development (skills, knowledge, etc.)

4. Your understanding of the group or audience you were aiming the performance at

📝 How to Structure Your Evaluation

1. Introduction

Briefly explain what the Performance Project was.

State what the aims of the project were (e.g., to entertain, educate, raise awareness, etc.).

Mention the target audience (e.g., school children, young adults, the local community, etc.).

Example: “The project was a devised performance aimed at raising awareness about mental health among teenagers. Our goal was to create an engaging and thought-provoking piece that would resonate with a school-aged audience.”

2. Evaluation of the Performance (Overall Effectiveness)

Was the performance successful? Why or why not?

What worked really well?

What could have been better?

Did the audience respond in the way you expected?

Use specific examples from the performance to back this up.

“One of the most effective parts was the use of direct address, which helped the audience feel more involved. However, some scenes lacked clarity, which caused confusion about our message.”

3. Did It Meet the Aims?

Go back to the original aims — did you achieve them?

How do you know? (Audience feedback? Your own observations? Peer reviews?)

“Our main aim was to spark conversation about mental health. Based on audience feedback forms and a short Q&A after the show, it’s clear the piece encouraged reflection and discussion, especially among our target group.”

4. Your Personal Development

What did you learn or improve on during the project?

Any skills you developed? (Acting, teamwork, research, scriptwriting, etc.)

How did your understanding of the subject or theme grow?

“I became much more confident in devising material from scratch and learned how to collaborate effectively with different personalities in the group.”

5. Understanding of the Target Audience

How did you make choices based on your target audience?

What research or thought went into making sure it was suitable and effective for them?

How did your understanding of them grow?

“We chose simple, relatable language and realistic scenarios because we knew our audience was teenagers who might not respond well to overly dramatic or abstract content.”

6. Conclusion

Summarize how successful the project was.

Mention what you would do differently next time.

End on a reflective note — what will you take away from this experience?

“Overall, the project was a success in meeting its aims and engaging the audience. In future projects, I would focus more on refining the transitions between scenes to keep the pacing tight.”

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G18 Assignment Brief Musical Theatre 2024 - 2025