Selected Courses on Digital Art-UOWM

17 Απριλίου 2013

the body vision in -documentary-eve-stef-body-performance art- moralty-

Filed under: Notes — admin @ 11:35
conceptual art-documentation-benjamin]

the body and the landscape ( γυψόγαζες)
the body and the video (yoko ono, …)

the body vision in –
documentary-types of docomentary—-eve-stef-
body-performance ——————acconci,abramovic,stelarc,klein, kounelis
art- moralty————–memorial
vacon-abramovic-vito acconci- ecological activism-personal mythology-soma topio-storytelling


Acconci began his career as a poet, editing 0 TO 9 with Bernadette Mayer in the late 1960s.
 In the late 1960s, Acconci transformed himself into a performance andvideo artist using his own body as a subject for photographyfilmvideo, andperformance. His performance and video work was marked heavily by confrontation and Situationism. In the mid 1970s, Acconci expanded his metier into the world of audio/visual installations.
One installation/performance piece from this period is Seedbed (January 15–29, 1971).—-InSeedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery, ———-masturbating while vocalizing into a loudspeaker his fantasies about the visitors walking above him on the ramp.[2] One motivation behind Seedbed was to involve the public in the work’s production by creating a situation of reciprocal interchange between artist and viewer.
In the article “Video: the Aesthetics of Narcissism”, Rosalind Krauss refers to aspects of Narcissism apparent in the video work of Acconci. “A line of sight begin Acconci’s plane of vision ends on the eyes of his projected double”. Krauss uses this description to underline aspects of narcissism in the Vito Acconci work “Centers.” In the piece Acconci is filming himself pointing directly at himself for about 25 minutes, by doing so Acconci makes a nonsensical gesture that exemplifies the critical aspects of a work of art through the beginning of the 20th century. Krauss also goes on to explain the psychological basis behind the actions of video in comparison to discussions of object art.
In 2008, in an interview with Brian Sherwin for Myartspace
Vito discussed Seedbed at length. Vito discussed the title Seedbed and the connection it had to the performance, stating, “I knew what my goal had to be: I had to produce seed, the space I was in should become a bed of seed, a field of seed – in order to produce seed, I had to masturbate – in order to masturbate, I had to excite myself.”[3]
During the 1980s he invited viewers to create artwork by activating machinery that erected shelters and signs. He also turned to the creation of furniture and to prototypes of houses and gardens in the late 1980s. The artist also founded Acconci Studio in 1988 focusing on theoretical design and building. Acconci has designed the United Bamboo store in Tokyo in 2003 and collaborated on concept designs for interactive art vehicle Mister Artsee in 2006 among others.
More recently, the artist has focused on architecture and landscape design that integrates public and private space. One example of this is “Walkways Through the Wall,” which flow through structural boundaries of the Midwest Airlines Center in Milwaukee, Wisconsin and provide seating at both ends.
A good example of this interest on the private/public space is the collaboration he did with architect Steven Holl when commissioned on a collaborative building project for Storefront for Art and Architecture.
 The project replaced the existing facade with a series of twelve panels that pivot vertically or horizontally to open the entire length of the gallery directly onto the street. The project blurs the boundary between interior and exterior and, by placing the panels in different configurations, creates a multitude of different possible facades. Now regarded as a contemporary architectural landmark, 
Another example of his work is Dirt Wall (1992) at the Arvada Center Sculpture Garden in Colorado. The wall begins outside the Arvada Center and extends inside, rising from ground level to a height of 24 feet. The glass and steel wall contains a mixture of volcanic rock, various types of sand, red dolomite, and topsoil which are visible through the glass panels, and represents an attempt to bring what is underground up, and what is outside in.

vito acconci-1970

trademarks, activity
pre-sosial state of being
dehumanizing procedures

From the moment that details aboutMarina AbramovicMoMAretrospective, The Artist Is Present, were announced, it was clear the exhibition would be one for the history books. Live performers — many of them naked — would recreate iconic works by the artist, while the artist would herself sat motionless in the museum’s atrium for every moment the show was open, a total of more than 700 hours.
But then, on the show’s opening night last Tuesday, an event even more sensational for Abramovic fans occurred. The artist’s former lover and collaborator of 13 years, Ulay, arrived and sat across from her, clasping her hands as the crowd looked on. The storied couple was united again, if only in a performance, if only for a moment. It appeared to be a masterful scene of pure drama, but it also looked suspiciously well choreographed — a danger inherent in recreating any performance piece.
ARTINFO asked the show’s curator, Klaus Biesenbach, a few questions about how the emotional reunion came about.


Marina Abramović was born in 1946 in Belgrade, Yugoslavia. Since the beginning of her career, during the early 1970s where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci and Chris Burden, Abramović created some of the most historic early performance pieces and continues to make important durational works.

Abramović has presented her work with performances, sound, photography, video, sculpture and Transitory Objects for Human and Non Human Use in solo exhibitions at major institutions in the U.S. and Europe. Her work has also been included in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). In 1998, the exhibition Artist Body – Public Body toured extensively, including stops at Kunstmuseum and Grosse Halle, Bern and La Gallera, Valencia. In 2004, Abramović also exhibited at the Whitney Biennial in New York and had a significant solo show, The Star, at the Maruame Museum of Contemporary Art and the Kumamoto Museum of Contemporary Art, Japan.

Abramović has taught and lectured extensively in Europe and America. In 1994 she became Professor for Performance Art at the Hochschule fur Bildende Kunst in Braunschweig where she taught for seven years. In 2004 she was awarded an Honorary Doctorate from the Art Institute in Chicago.

She was awarded the Golden Lion for Best Artist at the 1997 Venice Biennale for her extraordinary video installation/performance piece Balkan Baroque‚ and in 2003 received the Bessie for The House with the Ocean View‚ a 12-day performance at Sean Kelly Gallery.

In 2005, Abramović presented Balkan Erotic Epic at the Pirelli Foundation in Milan, Italy and at Sean Kelly Gallery, New York. That same year, she held a series of performances called Seven Easy Pieces at the Guggenheim Museum in New York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the “Best Exhibition of Time Based Art” award in 2007. Abramović’s work is included in numerous major public and private collections worldwide. She was the subject of a major retrospective at the MoMA – The Artist is Present – from March 14 through May 31, 2010.

Information to  visitors: Be advised that the film contains scenes of a sexual nature that some viewers may find disturbing and unsuitable for “children”……

– history time
* overall differences and similariries among
– Earth as a recipient of   sexual human activity comperatively to the  way Stelack extends his body  by applying either mechanical extentions (which they actually duplicaste the hands ability…….or applyng mechanical parts that corresponds to a space enviroment like a mars’s nocturnal enviroment. 

DIGITAL WORKS AND PERFORMANCE- Stelarc-exoskeleton- digital extention of the human body


«επιτελεστικές εν-καταστάσεις»
       («performative in-stallations»)
Επιτελέσεις που καταλήγουν σε  έργα τέχνης –εγκαταστάσεις.
Εγκαίνια 9 Μαΐου 2013 στις 19.00
Ημερομηνίες για τις επιτελέσεις:
9,10,11|05|2013 στις 19.00 & 20.00
14|05|2013 στις 19.00
Artist talks: Σάββατο 25 Μαΐου, στις 14.00
To Κέντρο Τέχνης & Πολιτισμού Beton7, παρουσιάζει από 9 – 30 Μαΐου 2013 επιτελέσεις που καταλήγουν σε έργα τέχνης – εγκαταστάσεις του Δημοσθένη Αγραφιώτη. Οι επιτελέσεις (performances) έχουν χαρακτήρα συμμετοχικό, δηλαδή, απαιτούν την ενεργό συμβολή των ‘θεατών’. Το τελικό αποτέλεσμα συγκροτεί την έκθεση των παραχθέντων υλικών συνθεμάτων.
Στην όλη διαδικασία συνδράμουν οι: Αντρέας Πασιάς, Θοδωρής Παπαθεοδώρου και Απόστολος Πλαχούρης.

Η επιτέλεση (performance) ως ανταλλαγή ενέργειας ανάμεσα στο σώμα του καλλιτέχνη και τα σώματα των συμμετεχόντων μπορεί να καταλήξει στη διαμόρφωση τέχνεργων, αντικειμένων, εικόνων, ήχων. Σύμφωνα μ αυτή την εκδοχή της επιτέλεσης, το παραγόμενο σύνολο θα μπορούσε να διεκδικήσει την υπόσταση του ‘έργου τέχνης’, ‘αισθητικού αντικειμένου’, ή ‘εγκατάστασης’ (installation); Με μιαν άλλη έκφραση, η επιτέλεση θα μπορούσε να έχει διπλό ρόλο: (i) να αποτελέσει αυτόνομη καλλιτεχνική διαδικασία, (ii) να λειτουργήσει ως μηχανισμός παραγωγής καλλιτεχνημάτων;
Η διπλή διεργασία της επιτέλεσης αναδεικνύει πτυχές που συνδέονται με τα διώνυμα, υλικό/άυλο, ατομικό/συλλογικό, σωματικό/διανοητικό, χωρίς να υπάρχει ωστόσο η διάθεση να τα εξαντλήσει ( ούτε καν να τα οριοθετήσει αναλυτικά ) ως αντιθέσεις.
Η επιτέλεση ως τρόπος σύζευξης των χειρονομιών από τους συμμετέχοντες με αφορμή και χάρη στα υλικά αποτελεί εντέλει, ένα πεδίο όπου διαπραγματεύονται οι ανθρώπινοι δεσμοί. Τι είναι όμως τα υλικά κατάλοιπα αυτής της επιτελ-εργίας; Ερείπια μιας σύντομης και εφήμερης ανταλλαγής μεταξύ του καλλιτέχνη και των άλλων συντελεστών-επιτελεστών;» Ίχνη μιας δοκιμασίας σχετικά με τι μπορεί να είναι ένα συλλογικό διάβημα; Απόδειξη, ότι παρ’ όλες τις δυσκολίες και τους περιορισμούς που σχετίζονται με τις μεθόδους της επιτέλεσης καθεαυτής, μπορεί να καταλήξει σ’ ένα σύνολο με φιλοδοξίες καλλιτεχνικού επιτεύγματος; Υπόλοιπα των «καθαρμών» στην προσπάθεια άρσης των εμποδίων για τη μεταμόρφωση των καταστάσεων, των πραγμάτων και των ανθρώπων; Ένδειξη, για τη βασική αντίθεση ανάμεσα στην επιτέλεση ως εφήμερο ενέργημα και στην τεκμηρίωση της επιτέλεσης  ως αίτημα για την ολοκλήρωση της Τέλος, τεκμήρια από τον γιορτασμό –απόδοση τιμής στην ανθρώπινη φαντασία και ικανότητα να αναφέρεται  στην τύχη πολιτιστικών προτύπων;
Δημοσθένης Αγραφιώτης
Ποιητής, επιτελεστής/καλλιτέχνης  διαμέσων

1.Κήπος Ζέν-αλφάβητα.(σιτηρά, ζυμαρικά, γράμματα, φωτογραφίες).
2.Αμοιβαιότητα;(αντικείμενα, προβολή, βίντεο).
3.Περιγράμματα-contours. (χαρτιά, μολύβια, μαρκαδόροι).
4.Εμπεδοκλής-4 στοιχεία.(χώμα, νερό, φωτιά, αέρας).
5.Εγκώμιο στο Fluxus. (διαμέσα, εφημερίδες, μελάνια).
6.Αναφορά στον Lyotard. (βίντεο, φωτογραφίες, ήχοι, σχέδια σινικής μελάνης)
7.Κρισιολογί_α.(βίντεο, κίνηση, ήχος).

Ο Δημοσθένης Αγραφιώτης είναι ποιητής, εικαστικός καλλιτέχνης διαμέσων (ζωγραφική, φωτογραφική, διαμέσα/intermedia, performance/επιτέλεση, εγκαταστάσεις). Συγγραφέας βιβλίων με δοκίμια και επιστημονικά άρθρα για την τέχνη, την επιστήμη/τεχνολογία, υγεία ως κοινωνικο-πολιτιστικά φαινόμενα και τη νεοτερικότητα. Ατομικές και συλλογικές εκθέσεις ζωγραφικής, φωτογραφικής και οπτικής/εικονοσχηματικής ποίησης στην Ελλάδα και στο εξωτερικό. Συμμετοχές σε εκδόσεις, κοινωνικο-πολιτιστικές εκδηλώσεις, ταχυδρομική τέχνη, πολυμέσα και διαμέσα, εγκαταστάσεις (ιnstallations) επιτελέσεις (performances), “εναλλακτικές” καλλιτεχνικές δραστηριότητες. Ειδικό ενδιαφέρον για τις συζεύξεις τέχνης και νέων τεχνολογιών – τεχνοεπιστήμης. Έκδοση φυλλαδίου τέχνης ‘Κλίναμεν’ (1980-90) περιοδικού «Κλίναμεν» (Εκδ. Ερατώ, 1990-94) και παραγωγή βιβλίων – καλλιτεχνημάτων (artists books) ‘Κλίναμεν’. ‘Κλίναμεν’ ηλεκτρονικό (2001-).


Keywords is a dynamic exhibition and lecture programme that looks at how changes in the meaning of words reflect cultural shifts in our society.  The programme is inspired by Raymond Williams’ Keywords, a seminal work in the study of the English language as well as the fields of Cultural Studies and Visual Culture.
In his lecture, Bersani will discuss the keyword sex, and the ‘place’ sex holds in our culture.  Drawing on the work of Sigmund Freud and the late French theorist Michel Foucault, Bersani will confront psychoanalysis with the imperatives of the body to arrive at a definition of a ‘soma-analysis’. On the evening there will be an opportunity for attendees to actively engage and share their thoughts with the guest speaker and exhibitions curators.
Leo Bersani is Professor Emeritus of French at the University of California, Berkeley specialising in 19th and 20th century art and literature. His writings on sexuality – particularly gay sexualities – psychoanalysis and the visual arts have inspired generations of cultural theorists and activists.

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    η γέφυρα χωρίς τρύπες..

    Σχόλιο by olga.simou — 20 Απριλίου 2013 @ 14:42


    το “εξαφανισμένο” link
    για να μην φαίνεται άκυρο το σχόλιο της όλγας

    Σχόλιο by alexandri eleni — 1 Μαΐου 2013 @ 10:37

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