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Jonathon Monk made 100 text works which were folded up bits of paper in an envelope with a time and a place - suggesting a meeting somewhere sometime. This beautiful and tiny little action makes me think about the LIVE comapred to the WORK in the gallery or the EPHEMERA/ DOCUMENTATION of the work and the relationship you can create between them using IMAGINATION. HOW do I tell people about my happenings. How does the way I tell people connect with the happenings themselves. What do people create in their imaginations before/ outside of the happening?

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Actuation on Richmond Shopping Centre Roof. This piece made me think. In my happenings - not everything has to have articulate meanings. Public performance can be led by materials. In a way that is still thought provoking and not exclusive or alienating.

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'I lay in a pre- prepared self – dug 2ft ditch on the plateau managed by Pwllpeiran Upland Research Centre, known as the Ffridd (the upland fringe) at 600m approx. On the hour, every hour, over 24 hours, I attempted to vocalise the live and continuous numerical data stream from a newly installed sensor network.'

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M'hammed Kilito - Before It's Gone, 2023 

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M'hammed Kilito - Before It's Gone, 2023 

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Photo taken in morocco, building a wall hmmmm

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 H A P P E N I N G on Instagram: "M’hammed Kilito, Winner Of The Second Edition Of The Louis Roederer Photography Prize For Sustainability for his series entitled “Before It’s Gone.”

#Photography #morocco #sustainability"

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happeningarts on May 22, 2023: "M’hammed Kilito, Winner Of The Second Edition Of The Louis Roederer Photography Prize For Susta..."

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dissecting a curator at an art fair

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Abraham Poincheval lives inside a bear for two weeks, 2014, Paris

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Abraham Poincheval lives inside a bear for two weeks, 2014, Paris

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Abraham Poincheval lives inside a bear for two weeks, 2014, Paris. THINKing about my GUT work. being inside for a duration .. in public space compared to the gallery.

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#AbrahamPoincheval lives inside a bear for two weeks, 2014, Paris
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For 13 days and 13 nights French artist Abraham Poincheval lived inside a hollowed-out bear carcass which was positioned inside...

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Surgically implanted camera into the back of his head taking pictures every 60 seconds for a year.

“I can see myself as a mirror reflecting some of the social conditions that we ignore… this will expose the unspoken conditions we face… A project like this is meant to establish a dialogue about surveillance” – Wafaa Bilal

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'Wrapping up King and Queen', Zhang Peili and Geng Jianyi 1986, East China

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'Wrapping up King and Queen', Zhang Peili and Geng Jianyi 1986, East China

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 The Live Art Library on Instagram: "#ZhangPeili and #GengJianyi, ‘Wrapping up King and Queen’, 1986, East China
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In a private space near the artists’ studios, Zhang Peili and Geng Jianyi tightly wrapped their bodies in newspaper and rope. This provocative work is apparently not commenting on Chinese society, but rather has characteristics of self-suffocation and psychoanalytic connotations.
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‘This action piece was completed in a self-gratifying state, and therefore it had not much to do with making an impact on the overall conditions of society’ – Lu Peng and Yi Dan

#liveart #performanceart #contemporaryart"

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64 likes, 4 comments - theliveartlibrary on October 30, 2018: "#ZhangPeili and #GengJianyi, ‘Wrapping up King and Queen’, 1986, East China
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In a private ..."

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'Blood for sale', 2018, New York, Khaled Jarrar

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'Blood for sale', 2018, New York, Khaled Jarrar

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Palestinian artist stood on street in New York selling vials of his own blood. The price was determined by fluctuating stock prices of defence contractors. The money raised is sent to Yemen and Gaza aid.

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 The Live Art Library on Instagram: "Khaled Jarrar (@khaledjarrar), ‘Blood for Sale’, 2018, New York
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Today is the final day that Palestinian artist Khaled Jarrar will be positioned on the corner of Wall Street and Broad Street in the Financial District of New York, selling vials of his own blood. The price of the vials is based on the current stock prices of America’s most prominent defence contractors. The proceeds of this work will go to hospitals in Yemen and Gaza. —
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‘When you have a military industry, you have a market… Companies compete, and when there is more violence in countries armed by the US, these companies benefit more. I don’t want to say that we all have blood on our hands, but we need to take action in protesting what’s happening’ – Khaled Jarrar —
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Photo by Stefan Hagen"

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53 likes, 1 comments - theliveartlibrary on October 12, 2018: "Khaled Jarrar (@khaledjarrar), ‘Blood for Sale’, 2018, New York
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Today is the final day th..."

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Gerald Chong, the Fourth Plinth Trafalgar Square, 2009

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Gerald Chong, the Fourth Plinth Trafalgar Square, 2009

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The Fourth plinth was given to 2400 members of the public for an hour each. Gerald Chong dressed up as Godzilla and destroyed a cardboard replica of the London skyline.

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Light up trainers hanging from electric lines with solar panel and rechargable batteries.

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Everything of interest in a box at the end of the month

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… There are no (innately) artistic means. All means are viable on condition. An artist makes art the whole of life, not a part. Is a man a farmer if he nurtures a furrow but neglects the field? The whole needs careful attention throughout. Painting is seen as an art activity. Breathing is not. Which is the root, which a result? Art purifies action. It is within the ordinary. It reflects what is. Real art requires what intermediary? It perseveres through changes. It transmutes pain and pleasure. It rests nowhere. It renders what is difficult effortlessly. It shows the invisible through the discernible. Pure art is in action devoid of ‘self’. The purest art is the most essential. Its form is to content as skin to body. Aesthetics alone are a surface affair. Real art embraces ‘everything’, rejecting nothing. Discrimination arises in clarifying self to receive what ‘is’. . . and so forth. I acknowledge most of it.

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Sewing fish together and making a tail that is worn. "What concerns me sometimes, through my process, is how not to censor the possibility of abstraction and poetry in relation to politics, and how not to give up on image making as a place of resistance."

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Meredith Monk - Duet with Cats Scream and Locamotive

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Meredith Monk - Duet with Cats Scream and Locamotive

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David Hammons - Bliz-aard Ball Sale 1983

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David Hammons - Bliz-aard Ball Sale 1983

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THIS HAS MADE ME THINK ABOUT HOW MY WORK CONNECTS WITH 'THE PUBLIC' IN A PUBLIC SPACE AND HOW THE INTERACTION CAN BE MORE DIRECT. If I am making work about the stock market .... I should be out on the street in direct communication with people. Am I selling them stocks?? Or can I find a more collaborative approach???

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Caravan for artist residencies - travelling space for experimental art. Taken to places slated for demolition soon.

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Cai Guo-Qiang - Explosion Event for the Museum of Contemporary Art, Los Angeles

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Cai Guo-Qiang - Explosion Event for the Museum of Contemporary Art, Los Angeles

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I made a piece called Gunpowder Plot once where people met exchanged packages and eventually met and found they had the ingredients for gunpowder, a fuse and a lighter. They went to a local park and exploded it

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benazs

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She has assembled kayakers!! to explore the boundary between North and South in Ireland. Very publically engaged. People played a role in it - it gave people a voice. She is not the grand director - it is a collaboration. Could my work be more like this?

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Actuation outside Chicago's Stock Exchange. Deeply mysterious and visual.

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Actuation and Live art festival. Thinking about fire and how it can be used in live work that engages the public without hurting anybody.

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Happening took place from midnight to midnight. Looks as if people's or somebodys hair was being cut and hung up. I like the idea of hair or some part of us being removed and added to an installation over time. Fingernails? Hair. Pee. Clothes.

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Commemorating all those killed as a result of the NI troubles. Names attached along a bridge. Thinking about my counting the dead project. How naming is more humanizing. A way of making sense of vast numbers. Is to count them out. But to name is a further step.

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I have always been interested in glasshosues. and how they decay. i have often thought about trying to build a glasshouse. but this makes me think. about using found objects. found glasshouses. closhes. etc.

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2 hour actuation at an art festival. I love the visceral ness of this. Sitting in a pile of rubbish for 2 hours. I would like to do something similar in George Square. Something similarly amibigious but visually punchy

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How Can i create happenings that involve many people. A simple activity that is accessible but creates an effect larger than the sum of its parts. Simplicity.....

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Performance art. Why does it so often involve individual bodily stress or danger. Why am I drawn to suffer or test my limits in the process. Thinking about Lawrence Abu Hamdan's Friday event talk in which he said he thinks he is drawn to situation where people are pushed to their limits through extreme situations because these situations can act as a kind of portal to other ways of seeing. Is that what these performative acts are trying to do. To break out of the ordinary. To reveal new potentials