Unstable

Kunst und Choreografie haben eins gemeinsam. Beide sind kritisch gegenüber ihrem eigenen Gegenstand – dem «Material». Im Tanz ist es der Körper, an den die Frage zu stellen wäre: Welche Kritik des Körpers ist möglich? Vor allem Rollenklischees wurden infrage gestellt, auch eine Kritik am idealen Körper ist von zahlreichen Choreografen formuliert worden. Die Kunst aber ist um Längen voraus. Stelarc baut dem Körper einen dritten Arm an, Eduardo Kac manipuliert ihn genetisch

 

The use of the body as living raw material during a performance enables the artist to reduce the distance between himself and his art work. Even before any activity takes place, the body manifests itself in both a material and a temporal dimension by its simple presence. The arrival of performance art during the 1960s followed man’s desire to use the human form to diminish the gap between life and art.

In Anna Halprin’s tasks and Allan Kaprow’s happenings the body became both a medium and an instrument, enabling artists to study, in a different light, questions that have troubled artistic thought, above all questions relating to representation.

 

Defining “living,” as the frontiers become blurred …

Through submitting her own body to numerous surgical operations, the artist Orlan questions our notions of gender and identity. Other artists have used advanced technology to push the frontiers of what is commonly accepted as being human (flesh, intelligence, history, technology). In 2000, the Australian artist Stelarc created the performance “Third Hand,” during which he used both of his hands as well as an artificial arm attached to his own arm in order to write on a wall. This ...

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Tanz Jahrbuch 2008
Rubrik: Unstable, Seite 104
von Anthoni Dominguez

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Weitere Beiträge
Exterior dance

Urban Art is public art. Whether you are counting in sculptures in a park or a dance company’s act on a market place – art is examining our societal environment as well as our relationship with art and the real.

Of course, we dream – and how much the very word “dance” stirs the imagination – of a new Rimbaud who “stretches ropes from steeple to steeple,” or the...

Trouble

 

Live art is by nature a territory where dance flirts with the visual arts. The artists mentioned here, Steven Cohen and Janez Jansa/Maska, work on those fringes. Their work was presented at the festival Trouble which, each year in the Halles of Schaerbeek in Brussels, shakes the establishment and allows interaction with artists from the visual arts, like Myriam...

On risk

Jan Fabre, famous as you are, you do still very much like to take risks it seems.

 

It depends on what type of risk you are talking about: mental, physical or social risk. I often feel alone in the artistic landscape, because what I say, I do; what I make, I am. There are not many artists who are free to take risks, particularly in theatre. They are so steeped in...