Tag: performance art

Anne Carson, from “The Glass Essay”, from Glass, Irony and God

Ana Mendieta, Anima (Alma/Soul), 1976, armature of bamboo and rope with fireworks, Oaxaca, Mexico, c-print on paper mounted on paperboard and printed, 1977

“French performance artist ORLAN has gone under the knife nine times for art. Her seventh surgery, a 1993 piece entitled “Omnipresence,” performed in New York was broadcast live to her studio in New York (the Sandra Gering gallery) and many others. All were connected to ORLAN’s operating room by videophone and to each other’s screens.Before the surgery begins, she reads from a script, in French, “Man treats this skin so cheaply, though it means so much to him. He sheds it at the slightest bidding, for he wants to shed his skin. The only thing he possesses. ‘I only have my skin.’ It is too much since having and being do not coincide.”She seats herself on the operating table and answers questions asked her through videophone while a woman draws on her face – under her eyes, then outlining her cheekbones, then around the implants as she holds them to ORLAN’s face. “It’s about renaissance and reconstruction,” she says. A skull rests nearby, with blue implants (normally used for enhancing cheekbones) attached to show how her facial structure will change – on the cheekbones, along the ridge of the nose, along the outer edge of the brow bone, and on the underside of the chin.  The first question comes from the New York gallery: “what will the body be in the future?” ORLAN replies, “the body is now obsolete, totally obsolete.”“

—The Art Pour

“French performance artist ORLAN has gone under the knife nine times for art. Her seventh surgery, a 1993 piece entitled “Omnipresence,” performed in New York was broadcast live to her studio in New York (the Sandra Gering gallery) and many others. All were connected to ORLAN’s operating room by videophone and to each other’s screens.Before the surgery begins, she reads from a script, in French, “Man treats this skin so cheaply, though it means so much to him. He sheds it at the slightest bidding, for he wants to shed his skin. The only thing he possesses. ‘I only have my skin.’ It is too much since having and being do not coincide.”She seats herself on the operating table and answers questions asked her through videophone while a woman draws on her face – under her eyes, then outlining her cheekbones, then around the implants as she holds them to ORLAN’s face. “It’s about renaissance and reconstruction,” she says. A skull rests nearby, with blue implants (normally used for enhancing cheekbones) attached to show how her facial structure will change – on the cheekbones, along the ridge of the nose, along the outer edge of the brow bone, and on the underside of the chin.  The first question comes from the New York gallery: “what will the body be in the future?” ORLAN replies, “the body is now obsolete, totally obsolete.”“

—The Art Pour

MENSTRUATION 1

Catherine Elwes
1979

Performance

Exploring the isolation of menstruation was the aim of my work in 1979. The “menstruation huts” of early societies were established by women to protect them during menstruation and childbirth.

As patriarchal religions gradually reversed matriachal values, menstrual isolation became enforced and women were excluded from religious work and other forms of public life. By enclosing myself in a glass-fronted compartment in the corner of a Slade studio and visibly bleeding for several days, I confronted the forcible eradication of women’s biology from culture. I used menstrual isolation in its original function, concentrating on physical and psychological changes as a source of knowledge and creative energy. Cate Elwes in Menstruation and Motherhood, Unravelling Biological Binds.

Performed White Room, Slade School of A