Performance

Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and the Cloud (2010) in which a woman produces a black rabbit from an unmarked box. No magician, she handles the unexpected animal with a mixture of bewilderment and acute apprehension. Later in the film, she confronts the event during hypnotherapy; then, in a key conversion, she watches her own analysis session performed[…..]

From Beijing: Beijing Voice and Zhang Xiaotao at Pékin Fine Arts

Beijing Voice 'Unlived By What is Seen' installation view courtesy Pace Beijing

There has been noise of late about the supposedly derivative nature of contemporary art, about questionable curatorial practices, and about the piratical behavior of the art market. “Zombie Formalism” and “Crapstraction” are glib, voguish—although, it must be said, amusing—terms that have been thrown around. Whatever you may think about this critique of current tendencies in abstract painting, it seems that all is not well in the world[…..]

But What You Want Is Far Away at the Oakland Museum of California

Phoebe Osborne. God Sees Everything, November 7, 2014 (performance still); Courtesy of the Artist and the Oakland Museum of California. Photo: Charlie Villyard.

In God Sees Everything, directed and choreographed by Phoebe Osborne, a complex weave of everything Californian coalesces.

#Hashtags – Locating Techonology: Therapeutic Bodies

Shana Moulton and Nick Hallett, featuring Daisy Press. Whispering Pines 10, 2012; performance at San Francisco Museum of Modern Art. Courtesy of the Artist and San Francisco Museum of Modern Art, San Francisco.

From our partners at Art Practical, today we bring you Genevieve Quick’s consideration of performances by Mika Rottenberg and Shana Moulton. The author notes: “As early media artists and feminists have done, Rottenberg and Moulton construct imaginative narratives that probe the unsettling relationship between the body, screens, technology, and contemporary life.” This article was originally published on October 15, 2014. Mika Rottenberg’s and Shana Moulton’s absurdist[…..]

From the Archives – #Hashtags: Georgia Sagri is otherwise occupied

GEORGIA SAGRI, "Working the no work/Travaillez je ne travaille pas/Δουλεύοντας τη μη δουλειά," Whitney Biennial 2012, Whitney Museum of American Art, New York. Courtesy of the artist and Melas Papadopoulos, Athens. Copyright Georgia Sagri. Photo: Paula Court

Three years ago this week, Occupy protests had spread to over 851 cities in 82 countries. Today from our archives we bring you a look back at Carol Cheh’s consideration of Georgia Sagri’s practice in relation to the Occupy movement. Cheh reminds us: “The real point of Occupy, after all, was to occupy oneself and one’s own actions, to keep seeking ways out of the status quo,[…..]

Randal Barnett: JEF+KEV//SIM at United Solo Theatre Festival

Randal Barnett. JEF+KEV//SIM, 2014 (still); performance; TRT 40:00, Courtesy of the Artist. Photo: Joelle Ballam-Schwan.

On September 21, Randal Barnett’s JEF+KEV//SIM infiltrated the ranks of this year’s United Solo Theatre Festival and inoculated its lineup of “straight” theater with the virus of queer performance art. Solo performance and performance art share a symbiotic genesis, solo performance being fundamentally based in storytelling that often features the absence of a “fourth wall” and performance art seeking to eradicate this distinction entirely, its[…..]

Women in Performance: Rigorous Ecstasy – Language & Performance, Part I

Carolee Schneemann. Correspondence Course (triptych), 1980/1983, self-shot silver prints mounted on silk-screened text; 30 x 20 inches. Courtesy of the Artist and PPOW Gallery, New York. © Carolee Schneemann.

Today from our friends at Art Practical, we bring you the first installment of the new column “Women in Performance,” which kicks off with an interview between author Jarrett Earnest and artist Carolee Schneemann. To quote from the column’s introduction: “Impelled by painting, Schneemann has plumbed the history of images, embodiment, and language since the 1950s, creating pioneering performances, films, installations, sculptures, and drawings. This two-part interview focuses[…..]