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Does performance art need to be experienced

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Does performance art need to be experienced

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Does Performance Art Need to be Experienced Live? | How Art Became Active | Ep. 4 of 5 | TateShots

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Arts House Melbourne Presentation
21st-26th June 2016 : Arts House, City of Melbourne

Curated and Performed by: Nic Green, Laura Bradshaw, Murray Wason, Bron Batten, Candy Bowers, and local Melbourne women. (Original version: Nic Green, Laura Bradshaw, Louise Brodie, Jodie Wilkinson, Murray Wason, revisited with the help of Rosana Cade and Sarah Hopfinger)

Participants Facilitator: Natalie Abbott
Lighting Design: Rob Watson (original version Will Potts)
Part Two Design: Gillian Lees (original version Susannah Henry)
Production Management: Rob Watson
Stage and Company Management: Peter McMaster
Assistant Stage Manager: Natalie Breakwell
Participant Coordinators: Emily Davies and Rowena Hutson
Producers: Feral (Jill Smith and Kathryn Boyle)

Trilogy was originally commissioned and developed at Battersea Arts Centre and created with The Arches.

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Arts House Melbourne Presentation 21st-26th June 2016 : Arts House, City of Melbourne Curated and Performed by: Nic Green, Laura Bradshaw, Murray Wason, Bron Batten, Candy Bowers, and local Melbourne women.

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Two tall screens in a large dark gallery displayed black-and-white footage of nine young women standing shoulder to shoulder. The setting is a nonspecific interior; light is low; no details ground the characters in identifiable time and space. Dressed in matching patterned smocks, the women might be…

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'The Tower', is a new work by artist Jesse Jones, and the third exhibition in the Magdalene Series at Rua Red, curated by Maolíosa Boyle.

Jesse Jones' new film installation is the second part in a trilogy beginning with 'Tremble Tremble', which was commissioned for the Irish Pavilion at the 57th Venice Biennale in 2017.

Working with Rua Red dancers in residence Junk Ensemble, and a cast that includes actors Olwen Fouéré, Naomi Moonveld-Nkosi and a young choir of performers, 'The Tower' turns to the figure of the mystic and the heretic and questions 'Who came before the witches?

The Magdalene Series features the work of five of Ireland's leading artists Amanda Coogan, Jesse Jones, Grace Dyas, Alice Maher, and Rachel Fallon. The artists were commissioned by Rua Red in 2018 to create work in response to the conflicted and mysterious figure of Mary Magdalene. Over the last three years, the artists have been informed by a series of lectures by researchers, feminist theologians, and art historians on the history and legacy of the Magdalene, her association with the incarceration and institutionalisation of women, and the influence of religious, political and societal doctrine on her character.

Based on the writings of medieval female Christian mystics, 'The Tower' explores the women who were burned as heretics even before the first witch trials in the 17 th century. It looks to a moment of radical potential, delving into the lost knowledge of women's devotional and ecstatic visions and evoking the incarcerated penitent at prayer and at work.
"Jesse Jones takes us to the time that anticipated the witches' inquisition and invites us into the Tower. Here she summons the stories and visions of women that are both saints and witches and whose imagination held power to 'world new worlds' before it was crushed by the heresy trials that swept Europe in the 12th century. Through the figure of Mary Magdalene, the music of 11th-century abbess and polymath composer Hildegarde af Bingen, and the inspired writings of medieval mystic Marguerite Porete, Jesse Jones unleashes the experience and injury of women's incarceration across Ireland, the UK, and France. With 'The Tower' Jesse Jones doesn't merely correct history but makes space for spaciousness: for future, intangible or alternative worlds that are not limited by patriarch, eurocentric, and even human exceptionalism. In the immersive installation, we travel instead through Mary Magdalen's embrace of the sacred and the sensual; inside the mythic quantum energy of the natural world animating Hildegarde af Bingen's music, and around, the unfamiliar landscapes of divine love (agape) for which Marguerite Porete was sentenced to death in 1310." (Tara Londi, Art critic and writer.)

In the alternative world of 'The Tower', a giant pillar recalls Luis Buñuel's 'Simon of the Desert' and reflects the life of devoted ascetic Saint Simeon Stylites, who waited on top of a pillar for six years to prove his devotion to God.
'The Tower' premieres at Rua Red and features a cast that includes actors Olwen Fouéré and Naomi Moonveld-Nkosi, a young choir of performers, choreography by Junk Ensemble, soundtrack by Irene Buckley, costumes by Roisin Gartland and includes a new iteration of Jones' now signature giant curtains. Rua Red's Dancers in Residence, 'Junk Ensemble' worked collaboratively with Jesse Jones on the choreography and movement of the performers bringing to life Jones' vision for the work. 'The Tower' will be launched at Rua Red at 6pm on Friday 27 May. The exhibition continues until 27 August 2022.

Jones' pillar proclaims the possibility of a world without shame, and reclaims the radical and mystical potential apparent in many women writers of the 14th century, that was crushed by the period of the witch trials, the rise of capitalism, and the weaponization of shame.

"In Europe, they say, 'We are the great-great granddaughters of the women you tried to kill in the witch trials,' and in Ireland, we say, "We are the daughters and granddaughters of the women you tried to incarcerate and suppress," - (Jesse Jones)

Featuring: Olwen Fouéré, Emily Kilkenny Roddy, Naomi Moonveld-Nkosi, Ava Richards, Síofra Kildee-Doolan, Rosie Phipps O'Neill, Amy Sheil, Aedín Ferguson, Saoirse McSharry, and Blathnaid Doyle Fox

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The Tower | Rua Red | South Dublin's Hub for Creative Activity

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'The Tower', is a new work by artist Jesse Jones, and the third exhibition in the Magdalene Series at Rua Red, curated by Maolíosa Boyle. Jesse Jones' new film installation is the second part in a trilogy beginning with 'Tremble Tremble', which was commissioned for the Irish Pavilion at the 57th Venice Biennale in 2017.

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The Tower by visual artist Jesse Jones is an enthralling film installation with live performance. It is part of The Magdalene Series, curated by Maolíosa Boyle which commissioned five women artists Amanda Coogan, Alice Maher, Rachel Fallon, Jesse Jones and Grace Dyas to create work engaging with myth and the legacy of the multi-faceted figure of Mary Magdalene and the second part of Jones's trilogy that commenced with Tremble, Tremble (2017), her work commissioned for the Irish Pavilion at the 57th Venice Biennale. With stunning performances from Olwen Fouéré, Naomi Moonveld-Nkosi and an enchanting choir of young women, coupled with choreography by Junk Ensemble, Rua Red artists in residence, The Tower invites us to consider the figure of the heretic and the mystic, while contemplating the mysteries of the feminine divine alongside these female visionaries.
Entering The Tower, I struggled to orient my body to the disconcertingly dark space. It was cold and silent, as if I stumbled upon a grotto or a cave of mysteries. The work takes its inspiration from Mary Magdalene's humble life as a hermit after the death of Jesus Christ. After witnessing the resurrection, Mary Magdalene, her sister Martha, brother Lazarus and other Christians fleeing from persecution were set adrift in a rudderless boat. The refugees eventually landed on the shores of Southern France, where Mary Magdalene supposedly evangelized Provence. The sacred sanctuary of Sainte-Baume, also known as Mary Magdalene's cave, is thought to be site where she lived out the rest of her days, devoting herself to the divine mysteries. When images appeared in The Tower, it was almost as if I was having visions. In the Middle Ages, women were prohibited from reading and interpreting Christian scriptures or spiritual doctrines and thus considered to have a different relationship to God. The women cloistered in The Tower were reminiscent of Beguines, 13 th century communities of religious women, from all social classes, who lived together but did not answer to patriarchal, clerical oversight. Amongst them were mystics who communicated with the divine and transcended the limits of ordinary knowledge, achieving a state of spiritual ecstasy.

Jones, Fouéré and Moonveld-Nkosi selected passages from noted mystics Mechthild of Magdeburg,Marguerite Porete and Hildegard of Bingen. The radical writings of these women challenged accepted ecclesiastical authority and are woven in throughout The Tower. Mechthild's claims of theological insight and criticisms of the church led to her books to be burned, while Porete was burned at the stake for heresy for her work The Simple Mirror of Souls (c.1290). Hildegard composed poetry and music, wrote medical texts, and practiced holistic healing. Her mystical visions proposed a concept of feminine divine wisdom. Unlike the other two mystics, Hildegard was not regarded as a heretic, though she sought to hold church authorities to account for spiritual abuses. In The Tower, an image of Hildegard receiving her divine visions briefly revealed itself before disappearing back into the darkness. There is an interplay interplay between light and dark throughout the installation. The absence of colour, the cool monochromatic tones and the crisp cinematography, together the large vertical screens and live performance elements focus one on other sensory perceptions. At one point, I experienced a jarring, spinning sensation that threw off my internal equilibrium, leading me to question the relationship of my body to the work.

Tiny dust particles rose into the air around a female figure carved in white Portland stone. They caught in the light as they circled before me, filling me with a curious sense of fascination. Hair spilling over her body, the figure's hands pressed against her in a pose reminiscent of Artemisia Gentileschi's Mary Magdalene in Ecstasy (c.1620-5), a sensuous figure captured in devotional rapture. On screen, a body wrapped in tactile sheepskin emitted the pleasure of the rapture. As the camera's gaze simultaneously roamed over stone and human flesh, it encouraged one to delight in this moment of euphoria, to feel it deep within the body. A powerful female figure kneels atop a tall white column as the young women lie at its base gazing skyward. A young woman climbed the ladder while whispering her visions. Dressed in tunics of tangled hair, the choir of young women raised their voices high in glorious song. Their bodies enfolded together like a mandala, circling together in time and space, a sight to be meditated upon.

Descending a simple ladder adorned with small metal charms, the cave's attendant cleansed her hands and face in a brass bowl atop a low stone altar. The water was drawn from the holy wells of Brigid's Well, Kildare and Cathair Crobh Dearg Well, Kerry and mixed frankincense and spikenard, perfumed oils used for purification and healing. Like a priestess in a sanctuary, the woman ritualistically performs certain duties that included moving a gossamer thin curtain bearing the image of interlinking hands, like a veil it concealed and revealed different aspects of the installation, contouring the space in a way that prompted one to think about the relationship of their physical body to the work. Later she marked the passage of time by carving a circle into the wall with a metal implement. She approached me as I wandered in the outer edges of the installation in the darkness, contemplating a small discovery and pressed a small token into my hand. Opening my palm, I strained to make out the shape of a small milagro, still embedded into clay. Cast metal religious folk charms, milagros were traditionally used for healing, protection or good luck. Placing it in my pocket, my hand instinctively returned to the charm, my thumb and fingers rubbing its surface as I pondered The Tower and its meaning. Contemplating these actions left me with an ache for that which felt lost, and perhaps a bit of longing for something awe-inspiring in my own life.

Drawing upon the writings of female mystics, whose ideas challenged both patriarchal authority and religious orthodoxy, The Tower is an intriguing, experiential work that that joins together mysticism, the divine and art from a feminist perspective. This work is a testament women's creativity and innovation, both in the woman-led talents and skills of those who contributed to the realisation of this powerful work, and in the collective spirit of The Magdalene Series. In repositioning the figure of Mary Magdalene, which in Ireland is associated with shame, unjust treatment of women and the carceral institutions of the Magdalene Laundries, Jones reinvests her with a power to radically alter such cultural meanings, while her intersectional feminism seeks to displace the gatekeeping of knowledge-making practices.
Dr Kate Antosik-Parsons is a contemporary art historian and Research Fellow in Social Studies at Trinity College Dublin. She researches and writes about gender, sexuality and embodiment. Jesse Jones The Tower until 24 September Rua Red, Tallaght

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Visions of the Feminine Divine: Jesse Jones's The Tower at Rua Red

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The Tower by visual artist Jesse Jones is an enthralling film installation with live performance. It is part of The Magdalene Series, curated by Maolíosa Boyle which commissioned five women artists Amanda Coogan, Alice Maher, Rachel Fallon, Jesse Jones and Grace Dyas to create work engaging with myth and the legacy of the multi-faceted figure of Mary Magdalene and the second part of Jones's trilogy that commenced with Tremble, Tremble (2017), her work commissioned for the Irish Pavilion at the 57th Venice Biennale.

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Sinead O'Donnell exhibition Millennium Court Arts Centre

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Thursday 21st February 2019 at 9am 0 Comments Visual Arts

"We are all sisters in this world we have to support each other. Our place and understanding of place in this world is the same in our beings to survive, to resist oppression and to join and merge through artistic forces. My work created a meeting point, through performance art, to be free." (Sinéad O'Donnell, performance artist).

Acclaimed performance artist, Sinead O'Donnell, has launched her latest exhibition, Crossing Permissions, at Millennium Court Arts Centre, Portadown.

The exhibition which includes a mix of photography, sculpture, video and performance art, reflects the artist's response to time spent living and working among women in diverse locations including; Argentina, Brazil, Japan, Thailand, Uruguay and Indonesia. In each setting the artist exchanged stories and ideas with local women to draw out issues affecting them which have informed this new work and given a voice to these women.

Describing her latest work, Sinead O'Donnell, said,

"Crossing permissions is the title that I used to describe a process. A process that was like an unravelling of self, art, and others through, or driven by, feminist feelings through my performance practice. The process looked at my practice and the wider world of art that I placed myself within. As a project, Crossing Permissions, for me, was about mutual exchange: living and working alongside women; I shared my stories and they shared theirs. In each of these countries the permissions differed from culture to culture, community to community, artist to artist and woman to woman."

Sinéad O'Donnell was the first performance artist to be awarded a Major Individual Artist award by the Arts Council of Northern Ireland in 2017/18. These prestigious awards, worth £15,000, are given in recognition of an individual's contribution to the arts in Northern Ireland and in order for an artist to create a significant body of new work, in this case, Crossing Permissions. The project was commissioned by Millennium Court Arts Centre.

Joanna Johnston, Visual Arts Development Officer, Arts Council of Northern Ireland, added,

"Sinéad O'Donnell is one of Northern Ireland's leading performance artists with an exceptional portfolio of work that is highly regarded internationally. The Arts Council was delighted to recognise this significant artist with a Major Individual Award in 2017 and Crossing Permissions is the outcome from the time and space this award afforded the artist. The result is a truly impressive exhibition with great touring potential. Congratulations to Sinéad."

Jackie Barker, Millennium Court Arts Centre, added,

"We have been delighted to work with Sinéad O'Donnell to produce 'Crossing Permissions', a year-long project that gave Sinéad the time, space and opportunity to develop her practice, further pushing herself to create new work based on the experiences that she has encountered throughout the year. At MCAC, we strive to support artists to take risks and to not only challenge the gallery space, but also to challenge our audiences and artists."

Crossing Permissions at Millennium Court Arts Centre continues until 27 March 2019. Visit www.millenniumcourt.org

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Leading performance artist, Sinéad O'Donnell, launches exhibition inspired by female empowerment

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Thursday 21st February 2019 at 9am 0 Comments Visual Arts "We are all sisters in this world we have to support each other. Our place and understanding of place in this world is the same in our beings to survive, to resist oppression and to join and merge through artistic forces.

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Floats in the Aether by Amanda Coogan - The Route

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Floats in the Aether by Amanda Coogan - The Route

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Blogpost by Grace Lynch, ESB Centre for the Study of Irish Art Intern | January 2019

On the centenary of the parliamentary vote for women in Ireland, and the election of Constance Markievicz as the first woman to the Parliament of the United Kingdom, artist Amanda Coogan was invited to create a new artwork at the National Gallery of Ireland in tandem with our exhibition Markievicz: Portraits and Propaganda.

The resulting work, is an ambitious, large-scale performance comprising a series of events involving over 100 women and girls of different backgrounds and social contexts. In each event, Coogan leads a silent, slow-moving, choreographed procession through the historic rooms of the National Gallery, passing along a very specific route. The route was mapped by Coogan in order to highlight women artists in our collection, and to pay homage to those women and their work. As Coogan passes each of these works during her performances, she makes a special gesture in Irish Sign Language, recognising and acknowledging the artists.

It is no accident that the first exhibition that Amanda Coogan walks through during her performances is [In]visible: Irish Women Artists from the Archive. This exhibition highlights some of the collections of work by women artists that are stored in our archives, and includes letters, scrapbooks and photographs. For each performance of Floats in the Aether, the participants pause at a photograph (above) of a group of women who attended the Dublin Metropolitan School of Art (now the National College of Art and Design). The photo features prominent artists from the 20th century, including Margaret Clarke, Estella Solomons and Beatrice Elvery.

Next, Amanda Coogan and the performers enter the Irish collection in the historic wings. Here, they pause to look at Mainie Jellett's 1923 work Decoration. Though essentially abstract, the format, colour and media of this work recall religious icons depicting the Madonna and Child. When shown in 1923 at a Society of Dublin Painters exhibition, it caused a furore, with one critic describing it as 'artistic malaria' and the 'sub-human art of Miss Jellett'. Mainie Jellett was later recognised by critics as one of the greatest advocates of the modern art movement in Ireland.

Having made their waythrough the Shaw Room and up the sweeping stairs to the Grand Gallery, the performers pause at Anjelica Kauffman's The Ely Family (above). Kauffman, who was born in Switzerland in 1741, was one of the leading artists of the late 1700s. She is known for her many portraits and landscapes, and for being one of the only women founders of the Royal Academy of Art in London. Kauffman received numerous commissions during a six month stay in Ireland (1771-72), including this portrait of the Earl of Ely with his wife and two nieces at their home in Rathfarnham Castle, where Kauffman briefly stayed.

From here, Coogan and the other performers progress to the exhibition that led to the commission of Upon leaving the Markievicz exhibition, the performers move through the upper Beit Wing, and acknowledge the work of two more women artists - Floats in the Aether, Sofonisba Anguissola's Portrait of Prince Alessandro Farnese (1545-1592), and Lavinia Fontana's The Visit of the Queen of Sheba to King Solomon (below). Fontana was one of the most prolific female painters of the 17th century, best known for painting historical and mythological subjects as well as being a highly sought-after portraitist. The painting depicts Vincenzo I Gonzaga and his wife Eleonora de' Medici, the Duke and Duchess of Mantua, as King Solomon and the Queen of Sheba. This particular Old Testament story is thought to have been chosen because the Duke and Duchess claimed to be descendants of the Queen of Sheba. Markievicz: Portraits and Propaganda, where they spend some time.

Coogan chose to acknowledge these works of art on her route through the Gallery to commemorate 100 years of suffrage within the walls of the Gallery, and to shine a spotlight on some of the female artists that are on display in the National Gallery of Ireland's collection. There are two more performances of Floats in the Aether remaining, which you can watch for free (see below). The performances begin in the Millennium Wing, opposite the exhibition ticket desk, and then progress through the Gallery. If you have mobility issues and would like to know the best route to take, we will have members of staff on hand to assist you.

20 January 2019
2.30pm

Amanda Coogan with Women's History Association of
Ireland and the National Gallery of Ireland Lifelong Learners

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Floats in the Aether by Amanda Coogan - The Route

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Blogpost by Grace Lynch, ESB Centre for the Study of Irish Art Intern | January 2019 On the centenary of the parliamentary vote for women in Ireland, and the election of Constance Markievicz as the first woman to the Parliament of the United Kingdom, artist Amanda Coogan was invited to create a new artwork at the National Gallery of Ireland in tandem with our exhibition Markievicz: Portraits and Propaganda .

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Jesse Jones threw a spotlight on feminism and women’s issues with her work Tremble Tremble when she represented Ireland at the 57th Venice Biennale / La Biennale di Venezia in 2017. Since then the political landscape has changed dramatically, with calls for change echoing around the world. In the wake of #MeToo, #IBelieveHer, revelations about the gender pay gap, and in the year that that saw Irish citizens go to the polls for an historic referendum vote, Jesse Jones has returned to Dublin with the Irish premiere of this timely work. Jones has transformed Project’s Space Upstairs into a multi-media installation which re-imagines feminist history and law, presenting an artwork she describes as a “bewitching” of the judicial system.

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Jesse Jones | Tremble Tremble | Project Arts Centre

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performance art, a time-based art form that typically features a live presentation to an audience or to onlookers (as on a street) and draws on such arts as acting, poetry, music, dance, and painting. It is generally an event rather than an artifact, by nature ephemeral, though it is often recorded on video and by means of still photography.

Performance art arose in the early 1970s as a general term for a multitude of activities-including Happenings, body art, actions, events, and guerrilla theatre. It can embrace a wide diversity of styles. In the 1970s and '80s, performance art ranged from Laurie Anderson's elaborate media spectacles to Carolee Schneeman's body ritual and from the camp glamour of the collective known as General Idea to Joseph Beuys's illustrated lectures. In the 1990s it ranged from Ron Athey's AIDS activism to Orlan's use of cosmetic surgery on her own body. And in the early 21st century, Marina Abramović rekindled a great interest in the medium through her re-creation of historical pieces.

Performance art has its origins in the early 20th century, and it is closely identified with the progress of the avant-garde, beginning with Futurism. The Futurists' attempt to revolutionize culture included performative evenings of poetry, music played on newly invented instruments, and a form of drastically distilled dramatic presentation. Such elements of Futurist events as simultaneity and noise-music were subsequently refined by artists of the Dada movement, which made great use of live art. Both Futurists and Dadaists worked to confound the barrier between actor and performer, and both capitalized on the publicity value of shock and outrage. An early theorist and practitioner in avant-garde theatre was the German artist Oskar Schlemmer, who taught at the Bauhaus from 1920 to 1929 and is perhaps best known for Das triadische Ballet (1916-22; "The Triadic Ballet"), which called for complex movements and elaborate costumes. Schlemmer presented his ideas in essays in a collective publication, Die Bühne im Bauhaus (1924; The Theater of the Bauhaus), edited by Walter Gropius.

Subsequent important developments in performance art occurred in the United States after World War II. In 1952, at Black Mountain College (1933-57) in North Carolina, the experimental composer John Cage organized an event that included performances by the choreographer and dancer Merce Cunningham, the poet Charles Olson, and the artist Robert Rauschenberg, among others. In its denial of traditional disciplinary boundaries, this influential event set a pattern for Happenings and Fluxus activities and provided an impetus for much of the live art of the following decade. In the 1960s and '70s, performance art was characterized by improvisation, spontaneity, audience interaction, and political agitation. It also became a favourite strategy of feminist artists-such as the gorilla-masked Guerrilla Girls, whose mission was to expose sexism, racism, and corruption mainly in the art world-as well as of artists elsewhere in the world, such as the Chinese artist Zhang Huan. Popular manifestations of the genre can be seen in Blue Man Group and such events as the Burning Man festival, held annually in the Black Rock Desert, Nevada.

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Performance art | Definition, History & Examples

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Performance art, a time-based art form that typically features a live presentation to an audience or to onlookers (as on a street) and draws on such arts as acting, poetry, music, dance, and painting.

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Artworks that are created through actions performed by the artist or other participants, which may be live or recorded, spontaneous or scripted

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While the terms 'performance' and 'performance art' only became widely used in the 1970s, the history of performance in the visual arts is often traced back to futurist productions and dada cabarets of the 1910s.

Throughout the twentieth century performance was often seen as a non-traditional way of making art. Live-ness, physical movement and impermanence offered artists alternatives to the static permanence of painting and sculpture.

In the post-war period performance became aligned with conceptual art, because of its often immaterial nature.

Now an accepted part of the visual art world, the term has since been used to also describe film, video, photographic and installation-based artworks through which the actions of artists, performers or the audience are conveyed.

More recently, performance has been understood as a way of engaging directly with social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah Westerman remarked 'performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world'.

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Tate glossary definition for performance art: Art for which the artist uses their own body as the medium and performs an action or series of actions which become the artwork

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Cut Piece, created and performed by Yoko Ono for the first time in 1964, while The Tower, created by Jesse Jones was performed in 2022. Feminism, patriarchy and how women are subjugated by men are the themes of both of these pieces. There is sixty years beween these two performances. Have the lives of women improved or changed within that period of time.