Performa’s ‘Happy Days in the Art World’ Headed to Scandinavia
The organizers of the Performa performance art biennial announced today that this summer they will take a high-profile commission from last fall’s Performa 11 on the road. Read More
performance art
Philip Roth Attempts to Halt Performance Piece
Marina Abramović, Both the Stanislavski and Duchamp of Performance Art
Speaking with the Huffington Post about her performance institute being built in Hudson, N.Y., Marina Abramović said, “[The institute is meant] really to educate the public and the audience more about performance, to leave as my concept what I’m going to call the Abramović method. In theater there is [the] Stanislavski method, but now in performance, it’s going to be the Abramović method.” Read More
RoseLee Goldberg and Klaus Biesenbach Curate Fourth Installment of '100 Years of Performance'
Klaus Biesenbach, director of MoMA PS1, and RoseLee Goldberg, director of Performa, will co-curate “100 Years of Performance” at Boston University Art Gallery. The exhibition includes seminal works like Yoko Ono’s Cut Piece (1965), in which the artist instructed her audience to cut the fabric from her body until she was naked, and Francis Alÿs’s When Faith Moves Mountains (2002), where about 500 volunteers armed with shovels moved a 1600-foot sand dune just outside Lima, Peru four inches away from its original location. Read More
Vanessa Beecroft Plans American Apparel Show for Basel
Marina Abramovic’s ‘The Artist is Present’ Travels to Moscow; Reviewer Finds Performance Art ‘Magical’
A truncated version of Marina Abramovic’s “The Artist is Present” exhibition, shown in 2010 at the Museum of Modern Art, traveled to collector Dasha Zhukova’s Garage Center for Contemporary Art in Moscow. Forty-seven Russian artists were trained by Ms. Abramovic to stage live re-enactments of some of the artist’s past works. Ms. Zhukova, if you’ll recall, recently launched The Greatest Magazine in the History of Mankind. It is called Garage. It is not about Garages. Read More
