Editing Performance art (section)

== 1970s ==
[[File:Entree of the Schaulager museum, Münchenstein, 2018.jpg|thumb|Installation by [[Bruce Nauman]] with various video performances]]
[[File:Gilbert & George 2007 crop.jpg|thumb|[[Gilbert and George]] in London, 2007]]

In the 1970s, artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline, deriving into installations created through performance, video performance, or collective actions, or in the context of a socio-historical and political context.

=== Video performance ===
In the early 1970s the use of video format by performance artists was consolidated. Some exhibitions by [[Joan Jonas]] and [[Vito Acconci]] were made entirely of video, activated by previous performative processes. In this decade, various books that talked about the use of the means of communication, video and cinema by performance artists, like ''Expanded Cinema'', by Gene Youngblood, were published. One of the main artists who used video and performance, with notorious audiovisual installations, is the South Korean artist [[Nam June Paik]], who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for.

[[Carolee Schneemann]]'s and Robert Whitman's 1960s work regarding their video-performances must be taken into consideration as well. Both were pioneers of performance art, turning it into an independent art form in the early seventies.<ref>{{cite book|last1=Youngblood|first1=Gene|title=Expanded Cinema|publisher=A. Dutton|year=1970|location=New York City}}</ref>

[[Joan Jonas]] started to include video in her experimental performances in 1972, while [[Bruce Nauman]] scenified{{clarify|date=October 2020}} his acts to be directly recorded on video.<ref>{{cite web|url=https://www.jochengerz.eu/works/to-call-until-exhaustion|title=To Call Until Exhaustion|access-date=June 12, 2020|publisher=Jochen Gerz}}</ref> Nauman is an American multimedia artist, whose sculptures, videos, graphic work and performances have helped diversify and develop culture from the 1960s on. His unsettling artworks emphasized the conceptual nature of art and the creation process.<ref>{{Cite web|title=Bruce Nauman|url=http://www.epdlp.com/pintor.php?id=2689|access-date=June 11, 2020}}</ref> His priority is the idea and the creative process over the result. His art uses an incredible array of materials and especially his own body.<ref>{{Cite web|title=Bruce Nauman {{!}} ArtDiscover|url=http://www.artdiscover.com/es/artistas/bruce-nauman-id2|website=www.artdiscover.com|access-date=June 11, 2020}}</ref><ref>{{Cite web|title=Bruce Nauman|url=http://www.epdlp.com/pintor.php?id=2689|website=www.epdlp.com|access-date= June 11, 2020}}</ref>

[[Gilbert and George]] are Italian artist Gilbert Proesch and English artist George Passmore, who have developed their work inside conceptual art, performance and body art. They were best known for their live-sculpture acts.<ref>{{cite news|last1=Ruíz Mantilla|first1=Jesús|title=Gilbert & George amantes, socios, artistas|url=https://elpais.com/diario/2011/04/10/eps/1302416817_850215.html|access-date=June 11, 2020|work=El País|date=April 10, 2011}}</ref><ref>{{cite web|title=Gilbert and George|url=https://www.guggenheim-bilbao.eus/la-coleccion/artistas/gilbert-and-george|publisher=Guggenheim Bilbao Museo|access-date=June 11, 2020}}</ref> One of their first makings was ''The Singing Sculpture'', where the artists sang and danced "Underneath the Arches", a song from the 1930s. Since then they have forged a solid reputation as live-sculptures, making themselves works of art, exhibited in front of spectators through diverse time intervals. They usually appear dressed in suits and ties, adopting diverse postures that they maintain without moving, though sometimes they also move and read a text, and occasionally they appear in assemblies or artistic installations.<ref>{{cite news|title=Gilbert & George, la vida como obra de arte|url=https://masdearte.com/gilbert-a-george-la-vida-como-obra-de-arte/|access-date=June 11, 2020|work=Masdearte.com|date=February 5, 2010}}</ref> Apart from their sculptures, Gilbert and George have also made pictorial works, collages and photomontages, where they pictured themselves next to diverse objects from their immediate surroundings, with references to urban culture and a strong content; they addressed topics such as sex, race, death and HIV, religion or politics,<ref>{{cite news|last1=Ramos|first1=Charo|title=El arte para todos de Gilbert & George|url=https://www.diariodesevilla.es/artes_plasticas/arte-Gilbert-George-Brafa_0_1328267542.html|access-date=June 11, 2020|work=Diario de Sevilla|date=February 2019}}</ref> critiquing many times the British government and the established power. The group's most prolific and ambitious work was ''Jack Freak Pictures'', where they had a constant presence of the colors red, white and blue in the Union Jack. Gilbert and George have exhibited their work in museums and galleries around the world, like the Stedelijk van Abbemuseum of [[Eindhoven]] (1980), the Hayward Gallery in London (1987), and the [[Tate Modern]] (2007). They have participated in the Venice Biennale. In 1986 they won the Turner Prize.<ref>{{cite news|title=Gilbert & George: "Intentamos estar lejos del arte para no contaminarnos"|url=http://www.tendenciasdelarte.com/gilbert-george-intentamos-estar-lejos-del-arte-para-contaminarnos/|access-date=June 11, 2020|work=Tendencias}}</ref>

=== Endurance art ===
{{Main|Endurance art}}
Endurance performance art deepens the themes of trance, pain, solitude, deprivation of freedom, isolation or exhaustion.<ref>For artists in endurance performances "[q]uestioning the limits of their bodies," Tatiana A. Koroleva, ''Subversive Body in Performance Art'', ProQuest, 2008, pp. 29, 44–46.</ref> Some of the works, based on the passing of long periods of time are also known as long-durational performances.<ref>Paul Allain, Jen Harvie, ''The Routledge Companion to Theatre and Performance'', Routledge, 2014, p. 221. Other terms include duration art, live art or time-based art.</ref> One of the pioneering artists was [[Chris Burden]] in California since the 1970s.<ref>Michael Fallon, ''Creating the Future: Art and Los Angeles in the 1970s'', Counterpoint, 2014, p. 106: "Burden's performances were so widely observed that they took on a life beyond the artist, helping create a new art genre, 'endurance art'..."</ref> In one of his best known works, ''Five days in a locker'' (1971) he stayed for five days inside a school locker, in ''Shoot'' (1971) he was shot with a firearm, and inhabited for twenty two days a bed inside an art gallery in ''Bed Piece'' (1972).<ref>Emily Anne Kuriyama, [http://ca.complex.com/style/2013/10/chris-burden-art-new-museum/back-to-you "Everything You Need to Know About Chris Burden's Art Through His Greatest Works"], ''Complex'', October 2, 2013.</ref> Another example of endurance artist is Tehching Hsieh. During a performance created in 1980–1981 (''Time Clock Piece''), where Hsieh took a photo of himself next to time clock installed in his studio every hour for an entire year. Hsieh is also known for his performances about deprivation of freedom; he spent an entire year confined.<ref name="Taylor30April2014">Andrew Taylor, [http://www.smh.com.au/entertainment/art-and-design/tehching-hsieh-the-artist-who-took-the-punches-as-they-came-20140429-37fri.html "Tehching Hsieh: The artist who took the punches as they came"], ''Sydney Morning Herald'', April 30, 2014: "Don't try this endurance art at home. That is Tehching Hsieh's advice to artists inspired to emulate the five year-long performances he began in the late 1970s."</ref> In ''The House With the Ocean View'' (2003), [[Marina Abramović]] lived silently for twelve days without food.<ref name="McEvilleyApril2003">Thomas McEvilley, "Performing the Present Tense – A recent piece by Marina Abramovic blended endurance art and Buddhist meditation," ''Art in America'', 91(4), April 2003.</ref> [[The Nine Confinements or The Deprivation of Liberty]] is a conceptual endurance artwork of critical content carried out in the years 2013 and 2016. All of them have in common the illegitimate deprivation of freedom.

=== Performance in a political context ===
In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as [[Budapest]], [[Kraków]], Belgrade, [[Zagreb]], [[Novi Sad]] and others, scenic arts of a more experimental content flourished. Against political and social control, different artists who made performance of political content arose. [[Orshi Drozdik]]'s performance series, titled ''Individual Mythology'' 1975–77 and the ''NudeModel'' 1976–77. All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state.<ref>{{cite web|first=Orsolya|last=Orshi Drozdik|title=Sensuality and Matter|url=http://budapestgaleria.hu/_/en/2018-exhibitions/orsolya-orshi-drozdik-sensuality-and-matter/|publisher=Budapest Gallery|date=September 2018|access-date=June 12, 2020}}</ref> Drozdik showed a pioneer and feminist point of view on both, becoming one of the precursors of this type of critical art in Eastern Europe.<ref>{{cite web|title=Orshi Drozdik|url=https://www.mutualart.com/Artist/Orshi-Drozdik/A46119C2D5D34177|date=2016|access-date=June 12, 2020}}</ref> In the 1970s, performance art, due to its fugacity,{{clarify|date=July 2020|reason=not an English word}} had a solid presence in the Eastern European avant-garde, specially in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically emerged.

[[File:Tehching Hsieh Cage Piece (1).jpg|left|thumb|Cell where [[Tehching Hsieh]] carried out his endurance art work; the piece is now in the Modern Art Museum of New York collection]]

=== The Other ===
[[File:Abramovic Ulay.jpg|thumb|[[Ulay]] and [[Marina Abramović]], ''The Other'' collective in one of their works]]

In the mid-1976s, [[Ulay]] and [[Marina Abramović]] founded the collective The Other in the city of [[Amsterdam]]. When Abramović and Ulay<ref>{{Cite web|url=https://www.larazon.es/cultura/20200302/kstisk74snhujjhfd2m76hus2m.html|title=Muere Ulay, el compañero artístico y vital de Marina Abramovic|access-date=March 12, 2020|last=Pajares|first=Gema|date=March 2, 2020|website=La Razón}}</ref> started their collaboration. The main concepts they explored were the ego and artistic identity. This was the start of a decade of collaborative work.<ref>{{Cite web|url=https://elcultural.com/muere-el-artista-ulay|title=Muere el artista Ulay|access-date=June 12, 2020|date=March 2, 2020|website=El Cultural}}</ref> Both artists were interested in the tradition of their cultural heritage and the individual's desire for rituals.<ref>{{Cite web|url=https://www.tate.org.uk/art/artworks/abramovic-rhythm-0-t14875|title='Rhythm 0', Marina Abramovic, 1974|access-date=June 12, 2020|last=Tate|website=Tate}}</ref> In consecuense,{{clarify|date=October 2020}} they formed a collective named ''The Other''. They dressed and behaved as one, and created a relation of absolute confidence. They created a series of works in which their bodies created additional spaces for the audience's interaction. In ''Relation in Space'' they ran around the room, two bodies like two planets, meshing masculine and feminine energies into a third component they called "that self".<ref>{{cite web|url=http://www.youtube.com/watch?v=traUaknfR5o |archive-url=https://ghostarchive.org/varchive/youtube/20211211/traUaknfR5o| archive-date=2021-12-11 |url-status=live|title=Marina Abramović y Ulay en La Artista Está Presente – MoMA 2010|website=[[YouTube]]|date=March 19, 2013 }}{{cbignore}}</ref> ''Relation in Movement'' (1976) had the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car, forming a sculpture, and each round represented a year.<ref>kunstwissen.de [https://archive.today/20120909085829/http://www.kunst-wissen.de/fach/f-kuns/o_pm/abramo0.htm ''Marina Abramovic (1946–'']</ref> After this, they created ''Breathing In/Breathing Out'', where both of them united their lips and inspired the air expired by the other one until they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a person to absorb the life out of another one, changing them and destroying them. In 1988, after some years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism, energy and attraction.<ref>Gudrun Sachse: [http://www.nzzfolio.ch/www/d80bd71b-b264-4db4-afd0-277884b93470/showarticle/c3aa511b-4a35-46e9-99bc-703d6cfb7141.aspx ''Die Mutter aller Schmerzen'']. In: ''[[NZZ Folio]]'' 1/2007</ref> Ulay started on the Gobi desert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres, found each other in the middle and said goodbye.

=== Main artists ===
In 1973, [[Laurie Anderson]] interpreted ''Duets on Ice'' in the streets of New York. [[Marina Abramović]], in the performance ''Rhythm 10'', included conceptually the violation of a body.<ref>{{cite web|url=http://www.medienkunstnetz.de/works/rhythm-10-2/|title=Marina Abramović Rhythm 10|access-date=June 11, 2020|publisher=Media Art Net}}</ref> Thirty years later, the topic of rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as ''Clifford Owens'',<ref>{{cite news|url=http://gothamist.com/2012/03/09/this_sunday_ps1_may_or_may_not_host.php|title=This Sunday MoMA PS1 May Or May Not Host A "Performance Art Rape"|work=[[Gothamist]]|date=March 9, 2012|first=Jen|last=Carlson|access-date=June 11, 2020|archive-date=August 10, 2015|archive-url=https://web.archive.org/web/20150810231244/http://gothamist.com/2012/03/09/this_sunday_ps1_may_or_may_not_host.php|url-status=dead}}</ref> ''Gillian Walsh'', ''Pat Oleszko'' and ''Rebecca Patek,'' amongst others.<ref>{{cite news|url=https://www.nytimes.com/2013/07/31/arts/dance/the-margins-of-a-form-are-increasingly-not-where-they-used-to-be.html?smid=fb-share&_r=0|title=The Margins of a Form Are, Increasingly, Not Where They Used to Be|work=[[The New York Times]]|date=July 30, 2013|first=Gia|last=Kourlas|access-date=June 11, 2020}}</ref> New artists with radical acts consolidated themselves as the main precursors of performance, like [[Chris Burden]], with the 1971 work ''Shoot'', where an assistant shot him in the arm from a five-meter distance, and [[Vito Acconci]] the same year with ''Seedbed''. The work ''Eye Body'' (1963) by Carolee Schneemann en 1963, had already been considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as ''Interior Scroll'', that showed the feminine body as an artistic media.

One of the main artists was [[Gina Pane]],<ref name=OAO>{{cite web|title=Panel, Gina|url=http://www.oxfordartonline.com/subscriber/article/grove/art/T065032|website=Oxford Art Online|access-date=June 11, 2020}}</ref> French artist of Italian origins. She studied at the [[École nationale supérieure des Beaux-Arts]] in París from 1960 until 1965<ref name=Hillstrom>{{cite book|last1=Hillstrom|first1=Laurie|last2=Hillstrom|first2=Kevin|title=Artistas contemporáneas|url=https://archive.org/details/contemporarywome00kevi|date=1999|editor=St. James Press|location=Farmington Hills, MI|isbn=1558623728|pages=[https://archive.org/details/contemporarywome00kevi/page/507 507], 508|access-date=June 11, 2020}}</ref> and was a member of the performance art movement in the 1970 in France, called  "Art Corporel".<ref name="Broadway1602">{{cite web|title=Gina Pane|url=http://broadway1602.com/artist/gina-pane/|archive-url=https://web.archive.org/web/20151023075931/http://broadway1602.com/artist/gina-pane/|url-status=usurped|archive-date=October 23, 2015|website=Broadway 1602|access-date=June 11, 2020}}</ref> Parallel to her art, Pane taught in the Ecole des Beaux-Arts in Mans from 1975 until 1990 and directed an ''atelier'' dedicated to performance art in the Pompidou Centre from 1978 to 1979.<ref name="Broadway1602"/> One of her best known works is ''The Conditioning '' (1973), in which she was lied into a metal bed spring over an area of lit candles. ''The Conditioning '' was created as an homage to [[Marina Abramović]], part of her ''Seven Easy Pieces''(2005) in the [[Solomon R. Guggenheim Museum]] in New York City in 2005. Great part of her works are protagonized by self-inflicted pain, separating her from most of other woman artists in the 1970s. Through the violence of cutting her skin with razors or extinguishing fires with her bare hands and feet, Pane has the intention of inciting a ''real experience'' in the visitor, who would feel moved for its discomfort.<ref name="OAO"/> The impactful nature of these first performance art pieces or actions, as she preferred to call them, many times eclipsed her prolific photographic and sculptural work. Nonetheless, the body was the main concern in Panes's work, either literally or conceptually.

<br />

<gallery widths="200" heights="200">
File:Ulay.jpg|Portrait of [[Ulay]] in 1972
File:Furgone Abramovic-Ulay 02.jpg|Abramovic and [[Ulay]]'s Furgone
File:Marina Abramović in Stockholm 2017-2.jpg|Exhibition of Marina Abramović's first works in Stockholm
File:Truncated Pyramid Room.jpg|Installation by [[Bruce Nauman]] in Germany
File:NTSC color bar calibration-(for Video Flag Z by artist Nam June Paik) 2013-07-20 18-21.jpg|Video installation by [[Nam June Paik]]
File:Gilbert.george.jpg|[[Gilbert and George]] in a presentation
File:Orshi Drozdik Brains on High Heels, 1993 installation, photo 2006.jpg|Orshi Drozdik in one of her exhibitions
</gallery>