IS THERE A PROCESS TO PERFORMANCE ART, WHEN IN FACT IT’S A MODUS OPERANDI THAT DECONSTRUCTS ALL THE RULES? WHAT’S THE DIFFERENCE BETWEEN PERFORMANCE ART AND THEATER OR DANCE? THE BOUNDARY IS BECOMING INCREASINGLY BLURRED, AND WE’VE SEEN IN THIS ISSUE THAT IT’S BOTH THE ECONOMIC MODEL, AND THE MODE OF DISSEMINATION, THAT DIFFER MOST BETWEEN THE SPHERES OF CONTEMPORARY ART AND THEATRE AND DANCE. BUT WHY DOES THE AESTHETIC OF PERFORMANCE, BORN TO DADA OVER A CENTURY AGO, STILL SEEM SO CONTEMPORARY TODAY? WHY THIS NEED TO CREATE EVENTS AND ACTIONS THAT TAKE PLACE IN THE HERE AND NOW, WITH AN INCREASING DESIRE TO REDISCOVER RITUALS AND THE COMMUNITY THAT GOES WITH THEM? IT’S AS IF PERFORMANCE ART EMBODIED THE NOSTALGIA OF THAT UNFILTERED MOMENT, WITHOUT DISTANCE, WITHOUT REPRODUCTION OR BROADCASTING. DIRECTLY IN TOUCH WITH REALITY.
CRASH 102
ISABELLE WENZEL, PHILIPPE QUESNE, VERONIKA KUNZ, JEAN-LUC VERNA & GISÈLE VIENNE, ANDRÉAS FRANCEKISS, ARIANE LOZE, ZAHO DE SAGAZAN, SUE NABI & NICOLAS VU, TARRAH KRAJNAK , ALISON OLIVER, OLIVIER SAILLARD, MARION BARBEAU, CHRIS BURDEN, VANESSA BEECROFT, AGNES DENES, JIMMIE DURHAM, DAVID HAMMON, ADEL ABDESSEMED, ELLA RÜMPF, GIANNI MOTTI, SAINT DX, IRIS APATOW
