PERFORMANCE ART

II. Phn tch tc phm tiu biu ca 5 nh! "# t$%nh &i'n ()m "n t* +u h,-n chun
(TRUNG)
.. Nh/n 01nh 23 +u h,-n chun
C 5 ngh s trnh din Gina Pane, Marina Abram!i", U#a$, Chris %&rden !' (t&art %ris#e$
)*& "+ "h&ng ,& h-.ng trnh din h'nh ,/", #&0n th1 th/"h gi.i h2n "h3& )4ng "5a th6 ,/" !'
tinh th7n trng 8hi trnh din9
C/" t/" :h;m trnh din <t nhi*& mang t<nh nghi th=" !' t0n gi/ (rit&a# and re#igi&s)
>? )*& s1 d@ng "A th6 #'m :h-Ang tin )6 tr&$*n ti m@" )<"h riBng9 C/" m@" )<"h n'$ 8h/"
nha& C tDng ngh s9
E.i Gina Pane )+ #' !Fn )* gi.i t<nh, b' #' mGt #esbian !' !Fn )* gi.i t<nh, s4 bnh )Hng gi.i,
t0n !inh tnh $B& )Ing gi.i, 8hHng )3nh danh t<nh "5a mGt #esbian #' th0ng )i: )-J" tr&$*n
ti K&a nhLng t/" :h;m "5a b'9 %' nh h-Cng th&$Mt t1 ! )2, the 8i6& Th/nh (ebastian9 (4
)a& ).n "5a th6 ,/" #' mGt "/"h tri nghim ra "/i )N:9
E.i Marina Abram!i" !' U#a$ "Ong #' 8h/m :h/ nPng #-Jng bn thQn, 8h/m :h/ gi.i h2n
"h3& )4ng " !* th6 ,/" !' tinh th7n )An th&7n "5a mGt ng-Ri hS" "5a hai ng-Ri nam !' nL9
E.i Chris %&rden )+ "Ong #' 8h/m :h/ gi.i h2n "h3& )4ng "5a th6 ,/", s4 t-Ang t/" giLa
ng-Ri trnh din !' ng-Ri ,em
E.i (t&art %ris#e$ #' !Fn )* "h<nh tr3, !Fn )* !* giai "F:, s4 "m th0ng !.i nhLng sT :hUn
ng'i #* ,V hGi, #' tiMng n+i :hn /nh "h<nh tr3 )-Ang thRi C Anh nhLng nPm WX9
4. Cc tc phm tiu biu5
4... 6ina Pan7
%' sinh nPm YZ[Z, "n #ai mN ng-Ri Ph/: !' "ha ng-Ri \9 %' b]t )7& s4 nghi: #' h?a s !'
)iB& 8h]" s-, sng b' )-J" biMt )Mn nhi*& nhFt !.i t- "/"h ngh s trnh din 8h/m :h/ gi.i
h2n "5a "A th6 !' tinh th7n9 C/" t/" :h;m trnh din h7& hMt )-J" #'m tD nPm ^Z _` WZ9
an Gina Panebs "ase the se,&a# signici"an"e c her :ercrman"es has t be e,tra"ted crm
ther meanings attrib&ted t :ercrman"e art in that :erid9 The "&#t&ra# and :#iti"a# re!#t
c the YZ^Xs and bWXs has been an im:rtant "nte,t cr reading Pane9 Ma$ YZ^d in Paris is an
im:rtant histri"a# receren"e, ehi#e YZWXs f&r:ean bd$ art is an artisti" receren"e9
Tc phm .5
Gina Pane, fs"a#ade nn Anesthesiee (YZWY)g Unanesthetihed fs"a#atin (ie thang m'
8h0ng b3 tBg ie thang m' b3 )a&)9
M0 tj b-." tDng b-." #Bn mGt "hiM" thang m' nhLng bU" thang "+ rPng "-a9
C#sek"r::ed hair, :#aid shirt, :ants9 A barect eman is "#imbing strange meta# bars that
#8 #i8e a :ie"e c g$m eK&i:ment9 (in"e the :hts are &s&a##$ re:rd&"ed in b#a"8 and
ehite, the$ ma$ nt a::ea# t :resentkda$ !ieeers a""&stmed t strng !is&a#9 lhen ee
#8 "#se#$, ee see that the r&ngs c this meta# str&"t&re ha!e shar:, magged edges and the
"#imberbs ceet and hands are bare9 nn#$ the :htgra:hs remaino the sense has t be
de"i:hered9
C#imbing eith&t anesthesia k fs"a#ade nn Anesthesiee (YZWY) k a "#assi" er8 c YZWXs
:ercrman"e art9
Gina Pane9 Man$ :rn&n"e her name Gina Pain, t&rning the ata#ian er#d cr bread, p:ane,p
int the fng#ish erd p:ain9p Pane, the K&een c f&r:ean bd$ art, is e,:erien"ing a
renaissan"e in the qYst "ent&r$, an age c !irt&a# bdies9 >er a"tins "n"ei!ed crt$ $ears
ag eere a "nstant manicestatin c s&ccering9 Ca##ed b$ irnists pthe mad eman eith the
rahr b#ade,p she re:eated#$ made in"isins n the s8in c her hands, arms, ba"8, be##$, #i:s,
tng&e, and e$e#ids9 (he &sed her en b#d and e&nds as a te,t, eriting a pietter t a
(trangerp k her artisti" manicest9 This YZWr pietterp statesj 8I9 I :p7n m; b:&; ": that ;:u
miht "77 m; b(::&< it i" b7cau"7 I (:27 ;:u.8 >er :ain did nt g t easteo s&bseK&ent
generatins "ntin&e t e,:#re the meaning c her :ercrman"e, "#imbing eith&t
anesthesia, time and time again9
C+ s 8iMn "h rtngj %$ e!8ing em:ath$ crm the a&dien"e cr her :ain and re#ating her
s&ccering t e,terna# !i#en"e, Pane h:ed t aea8en the uren"h t the rea#it$ c the Eietnam
lar9
Tc phm 4
Ahine (entimenta#e (YZW[)
M0 tj nn N!ember Z, YZW[, at the Ga##eria viagramma in Mi#an, Gina Pane is :ercrming
Ahine (entimenta#e 9 le enter the s:a"e c three rms9 nn the c#r c the cirst rm there
is a b#a"8 !e#!et sK&are eith a ehite satin rse a::#iK&ed in the midd#e9 nn the ea##s there are
three :htgra:hs sheing rses in a si#!er !ase9 pvedi"ated d a eman b$ a emanp reads
Panebs "a:tin9 an the ne,t rm a s#ide is being :rme"ted n a ea##9 at shes a :rtrait c
the artist crm the eaist den, dressed in ehite :ants, h#ding a b&K&et c red rses in her
#a:9 an the third rm a :ercrman"e is in :rgress9 Rings ha!e been draen in ehite "ha#8 n
the c#r, and inside them the erd pdnnap (ata#ian cr pemanp)9 nn#$ emen ha!e been
in!ited t eitness this :ercrman"e9 Pane, dressed in ehite, :ercrmed becre an a##kcema#e
a&dien"e seated in rings9
Pane #a$ n the c#r h#ding a b&K&et c red rses, ehi"h she a#ternate#$ :&shed aea$ and
he#d "#se9 This eas a series c "arec&##$ staged and re:eated :ses, ehi"h ended eith Pane
sitting "&r#ed &: #i8e an embr$, h&gging the b&K&et9 an the ne,t :hase, Pane :ier"ed her
crearm eith eight rse thrns and s#i"ed her :a#m eith a rahr b#ade9 The &tstret"hed
b#eeding hand s$mb#ihed #!e :assing crm hand t hand9 The artist ccered this b#d t the
"mm&nit$ c emen :resent9 (ignici"ant#$, she s&rr&nded herse#c eith emen and &sed
the rse t sa$ pa #!e $&9p Te cema#e !i"es "&#d be heard ehi#e Pane :r"eeded t "&t
her bd$o an ata#ian and a uren"h eman reading #etters addressed t ea"h thero an
e:ist#ar$ dia#g&e c #!e, as ee## as a narrati!e ab&t the death the mther c ne c the
emen, ehse #!er had sent her a b&K&et c rses as "ns#atin9 Then, Pane re:eated a##
the initia# gest&res and m!ements eith a b&K&et c ehite rses9 The :ercrman"e "#sed
eith the s&nd c uran8 (inatra singing p(trangers in the Nightp in the adma"ent rm9
=nh i5 Ahine (entimenta#e is "hara"teristi" c Panebs :ercrman"es, ehi"h eere #ng,
&s&a##$ #asting an h&r r te, and "arec&##$ staged in an a#mst rit&a#isti" manner9 The
re:etitin c "ertain meaningc&# gest&res and m!ements, as ee## as the demnstratin c
bme"ts :#a$ed a "entra# r#e in them9 Panebs a"tins tended t "mbine m&#ti:#e mediaj s#ides,
te,ts read a#&d, m&si", as ee## as the ci#ming c the a&dien"e9 (im&#tane&s#$, ea"h
:ercrman"e eas d"&mented n ci#m and :htgra:hso Pane herse#c "arec&##$ :#anned the
d"&mentatin, ma8ing draeings, s that the :htgra:her she er8ed eith 8nee e,a"t#$
ehen t t&rn n the "amerao Pane eas the dire"tr9 A#th&gh the "&tting, e&nding, and :ain
a::eared n#$ at s:e"ici" :ints c the :ercrman"e, it eas n them that the :htk
d"&mentatin eas "entered, cr Panebs #ang&age eas based n the e&nd and n :ain, nt
n the bd$, ehi"h she rare#$ e,:sed9 The :ain and the e&nd aea8ened bth herse#c and
her a&dien"e crm :ara#$sis9 Pane :rgrammati"a##$ er8ed eithin and against an
anesthetihed s"iet$9
%ased n the :htkd"&mentatin and ci#m ctage, Pane and her :artner Anne Mar"hand
"reated artisti" re:resentatins ehi"h she "a##ed pe!iden"e9p These eere &s&a##$ gemetri"
"m:sitins c :htgra:hs sheing the 8e$ mments c the :ercrman"esj the bd$ in
re#igi&s :ses, b#d, e&nds, the artistbs se#ckm&ti#atin and its demnstratin9 The
pe!iden"ep c Ahine (entimenta#e is es:e"ia##$ bea&tic&#9 The artistbs rit&a# :ses, the
ehiteness c her "#thes, the b&K&ets, the "&ts, the thrns :&n"t&ring the arm, a## in shades
c ehite and red9 lhite and red #i8e ehite and red rses, bd$ and b#d, and cina##$, b#d
and mi#8, ehi"h cten t&rned &: in the :ercrman"es9 Mi#8 in the artistbs m&th is mi,ed eith
the b#d c "&t #i:s r tng&e, as in the :ercrman"e tit#ed A&t:rtraits (YZW[)9
The :htgra:hi" "m:sitins k artisti" e!iden"e c Gina Panebs :ercrman"es, d&b#e &: as
se#ck:rtraits ins"ribed eith s&bt#e bigra:hi"a# tra"es9 The e!iden"e c Ahine (entimenta#e
shes her in se!era# crames, ea"h time red&"ed t a cragment9 le ne!er see the c&## cig&re,
n#$ cramed :arts c the bd$ and "#thing9 The artist "&r#s &:9 >er ca"e is in!isib#e9 The ca"e
disa::ears crm man$ c the :htgra:hs ehi"h are designed t she cragmentatin, t
#"ate the e&nd r gest&re9 at seems that the artistbs indi!id&a#it$ is m&ted in the name c the
sa"rici"e she ma8es c her s&ccering9
%e"a&se c this, "riti"s cind it s eas$ t &ni!ersa#ihe the radi"a# gest&res, inter:reting them as
:aradigms c re#igi&s rit&a#, rebe##in against the a#ienatin c the indi!id&a#, r ::sitin
t the anesthetihed s"iet$9 wet Pane is a :ercrmer c the YZWXs, ehen the :ri!ate eas
:#iti"a#, and ehen the "reatrs c bd$ art c##eed a "de c ethi"a# and s"ia#
res:nsibi#it$9 The :ainc&# :etr$ c Panebs :ercrman"es is ci##ed eith dee: and "n"rete
meanings9 at eas n a""ident that she reme"ted traditina# art and began t :ercrm acter the
Ma$ YZ^d :#iti"a# and inte##e"t&a# re!#t in Paris9 The s"ia# "nte,t and Panebs bigra:h$
are s&bt#$ interteined9 (he eas brn in uran"e, #i!ed in Paris, $et s:ent her $&th in ata#$9
>er cather eas ata#ian, her mther A&strian9 ata#ian and uren"h "&#t&res :ermeate her art, in
ehi"h she ma8es &se c bth #ang&ages9 This e,:#ains the dia#g&e c #!e "nd&"ted b$ the
te emen, ne ata#ian, the ther uren"h9
f&r:ean and Ameri"an mas"histi" bd$ art c the YZWXs is &s&a##$ dis"&ssed eithin the
histri"a# crame c the Eietnam lar and eestern artistsb identici"atin eith the !i"tims c
eestern im:eria#ist mi#itar$ and :#iti"a# !i#en"e9 A#th&gh a## this is :resent in Panebs
art, cemininit$ is an additina# e#ement9 C&nt#ess ana#$ses c her art and internet entries n
the artist herse#c restate the "#aim that Gina Pane e,terna#ihed the se#ckhate that emen #i!ing
in a :atriar"ha# "&#t&re are cr"ed t interna#ihe, r that she reena"ted the !i#en"e against
emen :resent in this "&#t&re9 Th&gh her ceminism is b!i&s, crm a :resentkda$
:ers:e"ti!e s&"h a genera#ihed ceminism ma$ "a&se meaning t be di#&ted and t disa::ear in
the &ni!ersa#9 Therecre Catherine n:iebs "ntem:rar$ #esbian se#ck:rtrait restres Gina
Pane t &s in her &niK&e sing&#arit$9
Panebs art eas nt n#$ ab&t Eietnam9 Criti"a# "mmentaries n bd$ art a#s em:hasihed
that the ris8$ and radi"a# :ra"ti"es c YZ^Xs and YZWXs artists eere s&cc&sed eith the
re!#&tinar$ s:irit c !ari&s "i!i# rights m!ements that sh8 eestern "i!i#ihatin and
transcrmed it entire#$9 Ris8kta8ing, e,:sing nese#c t s&ccering, and "ncrnting the
aggressin c the dminant s$stem eas the e,:erien"e c thse eh c&ght in the name c
emenbs rights, the rights c :e:#e c "#r and #esbians9 vem"rati" "i!i# rights eere
e,tended t thse gr&:s be"a&se smene t8 the ris8 c "ncrnting inm&sti"e and
dis"riminatin9 The str$ c minrit$ m!ements in the histr$ c h&manit$bs de!e#:ment
and h&manihatin is a#s a str$ ab&t the "ntin&ing sa"rici"e c h&man !i"tims9 A e&nd
m&st a::ear n the s"ia# bd$ cr an aea8ening and a hea#ing t ta8e :#a"e9 at eas in this
"nte,t that Pane s:8e ab&t ma8ing an inter!entin int an anesthetihed s"iet$ and
"#imbed eith&t anesthesia9
Ahine (entimenta#e eas a "ncessin c #!e beteeen emen9 >mse,&a# rights and #!e
stries eere n #ess a&dib#e in the YZWr A"tin Me#an"#iK&e :ercrmed in Na:#es9 anitia##$
three "&:#es sat n the stagej te emen, te men, and a eman eith a man, ea"h "&:#e
h#ding a b&K&et9 Cmmenting n this :ercrman"e, Pane erte that b$ :&tting hmse,&a#
"&:#es ne,t t the heterse,&a# ne she had :&shed aside :ath#gi"a# ass"iatins and
"reated a shared emtina# s:a"e9 Then Pane herse#c "ame n stage and dree hearts n her
:a#m and sh&#der, and then n the na8ed ba"8 c a eman h#ding a b&K&et9
Tc phm >5 6ina Pan7< Self-Portrait(s) (YZW[, Ga#erie (tad#er, Paris)9
Pane #a$ n a meta# bed ab!e #it "and#es9 (he made in"isins eith a rahr b#ade in the s8in
ar&nd her cingernai#s and #i:s ehi#e s#ides c emen :ainting their nai#s eere :rme"ted n
the ea##9 >er ba"8 t&rned t the a&dien"e, she re"ited xThe$ enyt see an$thingz ehi#e a
"amera re"rded emenys rea"tins in the a&dien"e9 ua"ing creard again, she garg#ed eith
mi#8 and s:it it int a be#, &nti# the mi#8 and her b#d mi,ed9
NhUn )3nh "h&ng !* b' Pane
Pane "ame t be#ie!e in art as a :#iti"a# cr"e that "&#d ser!e as a "ata#$st c "hange9 (he
ma$ a#s ha!e treated the s:e"ta"#e c s&ccering as a means cr transcrming "ns"i&sness
thr&gh sensitihing it t the :ain c thers9 (e,&a# identit$ a::eared in her er8 n the
bigra:hi"a# #e!e#, ehen she made art tgether eith her :artner Anne Mar"hand and &sed her
:htgra:hs in the :ercrman"eso n the themati" #e!e#, ehen she intrd&"ed hmse,&a#
"&:#es int the :ercrman"eso and n the inte##e"t&a# #e!e#, b$ de"#aring an accinit$ eith
ther artists c the se,&a# a!antkgarde in her times9
an Gina Panebs ntes made in YZ^d ee readj pC&nningham and Cage eere the initiatrs c
nee re#atinso the$ #ed t their e,:#sin9p This is a receren"e t bth artisti" and e,istentia#
re#atins9 The a!antkgarde "m:ser {hn Cage and the dan"er Mer"e C&nningham er8ed
and #i!ed tgether, transcrming the "n!entins c m&si" and "hregra:h$ t :rd&"e
er8s that be"ame "r&"ia# cr the histr$ c :ercrman"e art9 Cagebs cam&s "m:sitin
rb[[p (YZ55) is r min&tes and [[ se"nds c si#en"e, d&ring ehi"h the :ianist n the stage
n#$ made three m!ements eith his hands !er the 8e$bard eith&t t&"hing the 8e$s9 an
{nathan |athbs inter:retatin, si#en"e cr Cage eas a meta:hri" rec&sa# t :arti"i:ate in the
::ressi!e Ameri"an "&#t&re dminated b$ M"Carth$, eh :erse"&ted "mm&nists and
hmse,&a#s eith eK&a# cer!r9 (i#en"e eas a crm c resistan"e and a rec&sa# t :arti"i:ate
in a re:ressi!e ide#g$, b&t a#s a crm c se#ck"n"ea#ment in that dar8 :erid9 at a#s
ser!ed as a "mmentar$ n the eras&re c se,&a# dicceren"e in the YZ5Xs9
Pane :ercrmed te de"ades #ater, at a mment in eestern "&#t&re ehen se,&a# minrities
had "me &t c hiding and ta8en n the str&gg#e t ein "i!i# rights9 Therecre Pane
s&bstit&ted the str&gg#e eith :ain cr si#en"e9 >er se#ckaggressin "nstit&ted a ea$ c
e,terna#ihing, c creeing nese#c crm the ages c !i#en"e and signicied ris8 ass"iated eith
gest&res c resistan"e9 n:ie, in t&rn, in her transgendered and sadmas"histi" #esbian
:rtraits, d"&ments anther :hase c s&ccering k as ee## as a :ride in dicceren"e k the K&eer
:hase9
an Panebs art, the bd$ and se,&a#it$ eere nt m&st :#iti"a# b&t, ab!e a##, intimate and
:s$"h#gi"a#9 Therecre "riti"s em:hasihe the "nne"tins beteeen Panebs art and uren"h
:s$"hana#$ti" ceminism c the YZWXs, ass"iated eith the bise,&a# >e#ene Ci,&s and the
#esbian i&"e arigara$9 %th these antik:atriar"ha# :hi#s:hers stressed the creeing c the
ceminine m&issan"e, meaning :#eas&reg:ain, thr&gh #esbian desire ehi"h restres the denied
&nin eith the mtherbs bd$9 {&st #i8e b#d and mi#8 in Panebs er8, materna# and ceminine
meta:hrs eere "r&"ia# cr the in!entin c a nee ceminine #ang&age c art9
an her :ercrman"es ee cind n&mer&s receren"es t the materna# bd$ in the "nte,t c #!e
beteeen emen, either dire"t, as in Ahine (entimenta#e, r b#iK&e, made b$ ea$ c erti"
a##&sins9 an the "&rse c the :ercrman"e tit#ed Ps$"he (YZWr), Pane &nb&ttned her shirt t
#i"8 and s&"8 her en breast, and then made in"isins ar&nd her na!e#9
?nh h,@n b@i At. A7ba"tian
ii8e man$ ga$ mas"hist :ercrmers, crm Mi"he# {&rnia" t uran8 % and Rn Athe$,
Pane ma8es a sa"rici"e c herse#c n the a#tar c the hm:hbi" "i!i#ihatin9 These artists
"hse the #ang&age c the s&ccering bd$, dressing it &: in the "st&me c Christian rit&a#9
amitating Christ, the$ rea"hed cr the s$mb#s c the :er!erse re#igin that :erse"&ted and
e&nded them, b&t that sim&#tane&s#$ :#a"ed at the "enter c its imaginar$ the reme"ted and
h&mi#iated !i"tim eith his bea&tic&# trt&red bd$9 The cig&re c (t9 (ebastian stands at the
"enter c the traditin c hmse,&a# art, nt n#$ n a""&nt c the e,:sitin c the na8ed
mas"&#ine bd$ b&t, mre im:rtant#$, be"a&se the bd$ has s&ccered &nm&st#$9 Gina Pane and
Catherine n:ie "an be read as cema#e (t9 (ebastians9 The$ a::r:riate and reinter:ret the ga$
i"n c eestern "&#t&re9 Thin8ing ab&t the arms :ier"ed eith need#es in n:iebs se#ck:rtrait
and the draeing :ins in Panebs bd$, #et &s m!e n the arres that e&nd b&t d nt 8i## (t9
(ebastian9
(t9 (ebastian is Christianit$bs greatest hmerti" i"n9 >e is it that a Christian mart$r eas
ab#e t ta8e n this r#e, s&s:ended beteeen the sa"red and the hereti"a#} The res:nsibi#it$
#ies eith ata#ian art, ehse :ra"titiners t8 :#eas&re in :rtra$ing his attra"ti!e, na8ed,
:assi!e, and e"stati" bd$ tied t a tree and :enetrated b$ the arres c ther men9 The basi"
e#ements c this hmse,&a# :i"tria# m$th arej $&th, bea&t$, and na8edness "mbined eith
the :h$si"a# strength c a s#dier, as ee## as s&ccering and e"stas$9 The arres "nstit&te an
erti" and :ha##i" s$mb#, ehi#e the entire drama ta8es :#a"e in the "#sed mi#itar$ er#d c
men9 an additin t this sadmas"histi" s"enari there is (ebastianbs stat&s c a #ne#$ and
&nm&st#$ :erse"&ted man9 u&rthermre, as the saint res:nsib#e cr :#ag&e !i"tims, (t9
(ebastian a"K&ired a s:e"ia# pga$p signici"an"e d&ring the Aav( e:idemi"9 Th&s in the
qXth"ent&r$ he be"ame the :atrn saint c hmse,&a#s9
>ee!er, the rigina# str$ eas smeehat diccerent9 As ee #earn crm (t9 Ambrse, (t9
(ebastianbs hagigra:her, the mart$r #i!ed in the [rd "ent&r$ Av9 >e eas a midd#ekaged
bearded Rman cci"er c em:err vi"#etianbs g&ard9 >e died a mart$rbs death in qdW, at a
time ehen Christians eere being :erse"&ted, be"a&se he had a""e:ted the tea"hings c Christ
and eas "n!erting thers9 The em:err had his ar"hers tie his nektime ca!rite s#dier and
their "m:anin t a :st and :ier"e him eith arres9 %&t (t9 (ebastian did nt die9 lhen a
eman named arene eanted t b&r$ him, she c&nd a s:ar8 c #ice in his bd$ and hea#ed
him9 (t9 (ebastian than ret&rned t the em:err and a""&sed him c barbarit$ teards
Christians, ehere&:n he eas senten"ed n"e mre, b&t this time his bd$ eas stned and
thren int a seeer9
Medie!a# msai"s sti## sheed (t9 (ebastian as a mat&re bearded man in c&## "#thing,
eith&t arres9 %&t sin"e the Renaissan"e he has be"me the Christian Adnis, &s&a##$
shen as a na8ed $&th b&nd eith r:es and :ier"ed b$ arres, eith an e"stati" ca"ia#
e,:ressin and hi:s bare#$ "!ered b$ dra:er$9 >is bd$ tied t a tree is &tstret"hed and
e,:sed9 an Christian i"ngra:h$, he "nstit&ted ne c the main e,"&ses cr artists t d
detai#ed st&dies c the :assi!e and sens&&s ma#e bd$9
an cinkdeksie"#e art, (ebastian be"ame ne c the de"adent id#s c :er!ersin, s$mb#ihing
nnknrmati!e se,&a#it$9 >is stat&s c a ga$ i"n eas sea#ed in mdern "&#t&re9 As s&"h, he
eas the s&bme"t c eritings b$ ns"ar li#de, Gabrie#e dbAnn&nhi, {ean C"tea&, Thmas
Mann, {ean Genet, Mar"e# Pr&st, Gar"ia ir"a, Tennessee li##iams, and (&san (ntag9 an
YZW^, vere8 {arman made the "&#t ci#m (t9 (ebastian 9 an the :htgra:hi" art c w&8i
Mishima, Pierre et Gi##es, and l#cgang Ti##mans, the mart$r bra"es his bd$ in an erti"
tran"e c :ain, e!en mre b!i&s that in the barK&e :aintings c G&id Reni, the barK&e
master c the saintbs thanati" e"stas$9 Tda$, hmse,&a# emen are a::r:riating (t9
(ebastianbs bd$9
4. Ma$ina Ab$am:2ic
ABNOPAIA
Teards the #ate YZ5Xs, as abstra"t art began t #se im:et&s, man$ artists a"rss the er#d
began t embra"e :ercrman"e art9 Percrman"e had been a ceat&re c a!antkgarde art sin"e
ar&nd YZYX, b&t Marina Abram!i"bs er8 is t$:i"a# c the aims c the nee generatin in
her eagerness t a!id traditina#, bme"tkbased art materia#s (s&"h as :aint and "an!as), and
t "&t den the distan"e beteeen the artist and the a&dien"e b$ ma8ing her en bd$ the
medi&m9 %rn &nder w&gs#a!iabs re:ressi!e Cmm&nist di"tatrshi:, and raised b$ :arents
"#se#$ tied t the regime, Abram!i"bs dramati" and danger&s :ercrman"es cten seem #i8e
"atharti" res:nses t these ear#$ e,:erien"es c :eer9 (he has :rd&"ed a K&antit$ c
s"&#:t&re, b&t she remains best 8nen cr :ercrman"e, and she remains ne c n#$ a
handc&# c :ercrman"e artists c her generatin eh ha!e "ntin&ed t :ercrm #ate in their
"areer9
CEB IDEAA
Marina Abram!i"bs er8 is t$:i"a# c the rit&a#isti" strain in YZ^Xs :ercrman"e art9 at cten
in!#!es :&tting herse#c in gra!e danger and :ercrming #ength$, harmc&# r&tines that res&#t
in her being "&t r b&rnt, r end&ring sme :ri!atin9 (he !iees her art a#mst as a sa"rici"ia#
and re#igi&s rite, :ercrmed b$ herse#c cr a "ngregatin c !ieeers9 And the :h$si"a#
rdea#s she end&res crm the basis cr e,:#ring s&"h themes as tr&st, end&ran"e, "#eansing,
e,ha&stin, and de:art&re9
le might inter:ret her er8 as ha!ing dis:#a"ed art crm traditina# media s&"h as :ainting
and s"&#:t&re, and m!ed it dire"t#$ n t her bd$9 wet car crm "n"ei!ing it as sim:#$ a
s&rca"e, she has said that she thin8s c the bd$ as the p:int c de:art&re cr an$ s:irit&a#
de!e#:ment9p
%eteeen YZW^ and YZdd she "##abrated eith the Germankbrn artist 8nen as U#a$9 The
:ercrman"es the :air "reated d&ring this time cten e,:#ited their d&a#it$ t in!estigate
ideas s&"h as the di!isin beteeen mind and bd$, nat&re and "&#t&re, a"ti!e and :assi!e
attit&des, and, c "&rse, beteeen ma#e and cema#e9
EE6ACB
Abram!i", eh has recerred t herse#c as, pthe grandmther c :ercrman"e art,p eas :art c
the ear#iest e,:eriments in :ercrman"e art, and she is ne c the cee :ineers c that
generatin sti## "reating nee er89 (he has been, and "ntin&es t be, an essentia# inc#&en"e
cr :ercrman"e artists ma8ing er8 !er the #ast se!era# de"ades, es:e"ia##$ cr er8s that
"ha##enge the #imits c the bd$9 A#th&gh she des nt !iee her en arter8 thr&gh the
crame c ueminist Art, her "ncrntatins eith the :h$si"a# se#c and the :rimar$ r#e gi!en t
the cema#e bd$ ha!e he#:ed sha:e the dire"tin c that dis"i:#ine9 >er "mmitment t gi!ing
nee #ice t #der :ercrman"e er8s k bth hers and the er8s c thers kk #ed her t "reate
the Marina Abram!i" anstit&te cr Preser!atin c Percrman"e Art, set cr a qXYq :ening,
in >&dsn, Nee wr89 This nnk:rcit rganihatin ei## s&::rt tea"hing, :reser!ing and
c&nding :ercrman"e art, ens&ring an end&ring #ega"$ cr her :ercrman"es and, mre
brad#$, cr the e:hemera# art crm itse#c9 Ab&t this anstit&te, Abram!i" has said,
pPercrman"e is c#eeting9 %&t this, this :#a"e, this is cr time9 This is ehat a ei## #ea!e
behind9p
Tc phm .5 E:Ft tc phm Nh1p =i!u GRh;thmH
~*& dng )5 "/" th= )6 #'m )a& "A th69 C/i n'$ s "h n+i K&a ! C #.: Y )V t rFt 89
M0 tj
Rhythm 10, .IJ>
an her cirst :ercrman"e Abram!i e,:#red e#ements c rit&a# and gest&re9 Ma8ing &se c
teent$ 8ni!es and te ta:e re"rders, the artist :#a$ed the R&ssian game in ehi"h rh$thmi"
8nice mabs are aimed beteeen the s:#a$ed cingers c her hand9 fa"h time she "&t herse#c, she
e&#d :i"8 &: a nee 8nice crm the re c teent$ she had set &:, and re"rd the :eratin9
Acter "&tting herse#c teent$ times, she re:#a$ed the ta:e, #istened t the s&nds, and tried t
re:eat the same m!ements, attem:ting t re:#i"ate the mista8es, merging :ast and :resent9
(he set &t t e,:#re the :h$si"a# and menta# #imitatins c the bd$ the :ain and the
s&nds c the stabbing, the d&b#e s&nds crm the histr$ and crm the re:#i"atin9 lith this
:ie"e, Abram!i began t "nsider the state c "ns"i&sness c the :ercrmer9 xnn"e $&
enter int the :ercrman"e state $& "an :&sh $&r bd$ t d things $& abs#&te#$ "&#d
ne!er nrma##$ d9z
5
Rhythm 5, .IJK
Abram!i s&ght t reke!8e the energ$ c e,treme bd$ :ain, in this "ase &sing a #arge
:etr#e&mkdren"hed star, ehi"h the artist #it n cire at the start c the :ercrman"e9 (tanding
&tside the star, Abram!i "&t her nai#s, tenai#s, and hair9 lhen cinished eith ea"h, she
three the "#i::ings int the c#ames, "reating a b&rst c #ight ea"h time9 %&rning the
"mm&nist ci!ek:inted star re:resented a :h$si"a# and menta# :&rici"atin, ehi#e addressing
the :#iti"a# traditins c her :ast9
an the cina# a"t c :&rici"atin, Abram!i #ea:t a"rss the c#ames, :r:e##ing herse#c int the
"enter c the #arge star9 v&e t the #ight and sm8e gi!en cc b$ the cire, the bser!ing
a&dien"e didnbt rea#ihe that, n"e inside the star, the artist had #st "ns"i&sness crm #a"8 c
,$gen9 (me members c the a&dien"e rea#ihed ehat had ""&rred n#$ ehen the c#ames
"ame !er$ near t her bd$ and she remained inert9 A d"tr and se!era# members c the
a&dien"e inter!ened and e,tri"ated her crm the star9
Abram!i #ater "mmented &:n this e,:erien"ej xa eas !er$ angr$ be"a&se a &nderstd
there is a :h$si"a# #imitj ehen $& #se "ns"i&sness $& "anyt be :resento $& "anyt
:ercrm9z
^
Rhythm 2, .IJK
As an e,:eriment testing ehether a state c &n"ns"i&sness "&#d be in"r:rated int a
:ercrman"e, Abram!i de!ised a :ercrman"e in te :arts9
an the cirst :art, she t8 a :i## :res"ribed cr "atatnia, a "nditin in ehi"h a :ersnys
m&s"#es are immbi#ihed and remain in a sing#e :sitin cr h&rs at a time9 %eing
"m:#ete#$ hea#th$, Abram!ibs bd$ rea"ted !i#ent#$ t the dr&g, e,:erien"ing seih&res
and &n"ntr##ab#e m!ements cr the cirst ha#c c the :ercrman"e9 lhi#e #a"8ing an$
"ntr# !er her bd$ m!ements, her mind eas #&"id, and she bser!ed ehat eas ""&rring9
Ten min&tes acter the ecce"ts c that dr&g had ern cc, Abram!i ingested anther :i##
this time ne :res"ribed cr aggressi!e and de:ressed :e:#e ehi"h res&#ted in genera#
immbi#it$9 %di#$ she eas :resent, $et menta##$ she eas "m:#ete#$ rem!ed9 (an ca"t, she
has n memr$ c the #a:sed time9) This :rme"t eas an ear#$ "m:nent c her e,:#ratins
c the "nne"tins beteeen bd$ and mind, ehi"h #ater t8 her t Tibet and the A&stra#ian
desert9 u##eing Rhythm 2, she set t de!e#: the rest c the series c rh$thm :rme"ts,
"ntin&a##$ testing her end&ran"e9
Rhythm 0, .IJK
T test the #imits c the re#atinshi: beteeen :ercrmer and a&dien"e, Abram!i de!e#:ed
ne c her mst "ha##enging (and bestk8nen) :ercrman"es9 (he assigned a :assi!e r#e t
herse#c, eith the :&b#i" being the cr"e ehi"h e&#d a"t n her9
Abram!i had :#a"ed &:n a tab#e Wq bme"ts that :e:#e eere a##eed t &se (a sign
incrmed them) in an$ ea$ that the$ "hse9 (me c these eere bme"ts that "&#d gi!e
:#eas&re, ehi#e thers "&#d be eie#ded t inc#i"t :ain, r t harm her9 Amng them eere a
rse, a ceather, hne$, a ehi:, s"issrs, a s"a#:e#, a g&n and a sing#e b&##et9 ur si, h&rs the
artist a##eed the a&dien"e members t mani:&#ate her bd$ and a"tins9
anitia##$, members c the a&dien"e rea"ted eith "a&tin and mdest$, b&t as time :assed (and
the artist remained im:assi!e) :e:#e began t a"t mre aggressi!e#$9 As Abram!i
des"ribed it #aterj
xlhat a #earned eas that999 ic $& #ea!e it &: t the a&dien"e, the$ "an 8i## $&9z 999 xa ce#t
rea##$ !i#atedj the$ "&t &: m$ "#thes, st&"8 rse thrns in m$ stma"h, ne :ersn aimed
the g&n at m$ head, and anther t8 it aea$9 at "reated an aggressi!e atms:here9 Acter
e,a"t#$ ^ h&rs, as :#anned, a std &: and started ea#8ing teard the a&dien"e9 f!er$ne ran
aea$, t es"a:e an a"t&a# "ncrntatin9z
W
Tc phm 45 Th:ma" Eip" G.IJ5H
M0 tj
an the :ercrman"e bThmas ii:sb, Marina Abram!i" &nderta8es a range c a"tins that :&sh
her :h$si"a# #imits t an e,treme and cina##$ res&#t in the transgressin c bdi#$ b&ndaries9
(he starts cc eith eating Y 8i# c hne$, c##eed b$ the "ns&m:tin c Y #itre c red eine9
Then, she brea8s the eine g#ass eith her hand9 (#e#$, the a"tins be"ame mre !i#ent,
"&#minating in attem:ts c a&tkm&ti#atin, #i8e "&tting a ci!ek:inted star int her stma"h
eith a rahr b#ade, an image that has be"me i"ni" in the histr$ c :ercrman"e art9
Recerring t !ari&s Christian themes and rit&a#s c re:entan"e, the #i!e :ercrman"e a#s
in"#&des that Abram!i" is ehi::ing herse#c &nti# she e!ent&a##$ #ies den n a "rss made
&t c i"ekb#"8s9 lhi#e a heater is :inted teards her stma"h, ma8ing the "&t star b#eed,
the &nderside c her bd$ is starting t creehe9 >ee!er, acter [X min&tes n the i"e b#"8s,
the artist is "arried aea$ b$ members c the a&dien"e, eh "annt stand the sit&atin an$
#nger9 At this :int, it be"mes rather "#ear that in bThmas ii:sb, Abram!i" is nt n#$
threatening the integrit$ c her bd$ and, th&s, destabi#ihing the binar$ ::sitin beteeen
inside and &tside, b&t is a#s K&estining the distin"tin beteeen :&b#i" and :ercrmer9 an
the end, the members c the a&dien"e "an n #nger hide behind their :assi!e stat&s as
bser!ers, b&t are cr"ed t ta8e the de"isin t :ercrm an a"tin b$ their en9 The
:ercrman"e cirst t8 :#a"e in YZW5, b&t eas re:eated in YZZ[ and in qXX5 at the
G&ggenheim M&se&m, Nee wr8, ehere it #asted cr W h&rs and eas re"rded cr the cirst
time in c&## #ength9 The n#$ thing !isib#e n the !ide registratins crm YZW5 and YZZ[ is
the "nstant#$ re:eating image c the star that Abram!i" is "&tting int her stma"h9 These
!idebs crm the basis c the s"&#:t&ra# insta##atin bThmas ii:sb, shen n mnitrs that are
:#a"ed n t: c ea"h ther9 an the c&t&re, the insta##atin ei## a#s in"#&de the registratin c
the qXX5 :ercrman"e9
Tc phm >5 E:Ft tc phm L6iMi phNn OP
M0 t
F$77in th7 Q:ic7 G.IJRH
The :remise c bureeing the Ei"eb is sim:#ej s"reaming &nti# the !i"e is #st9 at eas
:ercrmed in %&da:est in YZW^9 an the !ide re"rding, ee see Abram!i" #$ing n her ba"8
and ti#ting her head ba"8 s the a&dien"e and the "amera ha!e her ca"e in c&## !iee9 lith her
m&th :en eide, she :rd&"es an &ninterr&:ted, erd#ess s"ream9 At cirst it seems a "r$ cr
he#:, then be"mes mre intr!erted, then h$steri"a#9 Abram!i" a::ea#s t &r int&iti!e
desire t res:nd t a s"ream9 %ecre an a&dien"e, she "ncident#$ tests her en strength,
bth :h$si"a# and menta#9 Then her !i"e ca#ters, t&rns t hea!$ breathing and cina##$ dies
den9 The bd$ has been em:tiedo the mind c##es9 Abram!i" said #aterj blhen $& are
s"reaming in this ea$, eith&t interr&:tin, at cirst $& re"gnihe $&r en !i"e, b&t #ater,
ehen $& are :&shing against $&r en #imits, the !i"e t&rns int a s&nd bme"t9b The !i"e
seems t be brea8ing cree crm the bd$, ci##ing the s:a"e inde:endent#$9 %$ :&tting her bd$
t the test and e,:#ring the re#atinshi: beteeen mind and bd$, Abram!i" tries t
redis"!er the e,:erien"e c nat&ra#ness, s:irit&a#it$ and :&re sensiti!it$o thse h&man
e,:erien"es that ee ha!e #st t the :redis:sitin c "ntem:rar$ "&#t&re t materia#ism
and te"hn#g$9 The !ide is a#s :art c the Y^k"hanne# insta##atin bEide Prtrait Ga##er$b
(Abram!i" YZW5kqXXq)9
F$77in th7 M7m:$;
an the !ide c bureeing the Memr$b, Abram!i" ree#s cc a## the erds she "an :ssib#$
remember9 (eated n a "hair eith her head ti#ted ba"8eards, Abram!i" s:ea8s (erbk
Cratian, ne and then threing in an fng#ish r v&t"h erd9 %$ re"iting a## the erds
stred in her memr$, she tries t cree herse#c crm the a"K&ired #ang&age9 Acter an h&r and
a ha#c, she seems t ha!e s&""eeded9 The ee## c erds has dried &: and the :ercrman"e is
!er9 bureeing the Memr$b is :art c a series c :ercrman"es in ehi"h Abram!i" tries t
:&ric$ her bd$ and mind and attem:ts t seit"h cc her "ns"i&snessj ban pureeing the
%d$p a m!ed m$ bd$ ti## a "&#d nt m!e an$ mre, and in pureeing the Memr$p a
ta#8ed, re"a##ing things crm m$ memr$ ti## a "&#d nt remember an$ mre9 an pureeing the
Ei"ep a s"reamed &nti# a #st m$ !i"e and "&#d nt :rd&"e an$ mre s&nd9b Abram!i"
dree ins:iratin crm fastern :hi#s:hies, ehi"h ha!e engrssed her sin"e YZW5, and
es:e"ia##$ crm rit&a#s and "eremnies that aimed at a higher #e!e# c "ns"i&sness t cind a
harmni&s ba#an"e beteeen mind and bd$9 T a""m:#ish this, the mind has cirst t be
drained c th&ght9 This is ehat Abram!i" tried t d in bureeing the Memr$b9 The !ide is
a#s :art c the Y^k"hanne# insta##atin bEide Prtrait Ga##er$b (Abram!i" YZW5kqXXq)9
F$77in th7 S:&;
an the registratin c the si,kh&r :ercrman"e bureeing the %d$b (ve"ember YZW^) at the
Mi8e (teiner ga##er$ in %er#in, Abram!i" "an be seen standing na8ed in crnt c a ehite
ea##9 An Acri"an dr&mmer is sitting in crnt c her, beating a dr&m eith his hands, smetimes
K&i"8#$ and #&d#$, at ther times mre gent#$9 Abram!i" m!es her bd$ t this rh$thm9
v&ring the ear#$ :art c the :ercrman"e, she sti## has :#ent$ c energ$, and she r"8s her hi:s
and &::er bd$ !igr&s#$ t and cr9 f!en her arms are "nstant#$ er8ingo her entire bd$
res:nds t the tem: and intensit$ c the dr&mbeat9 n!er the "&rse c the si, h&rs,
e,ha&stin sets in9 Abram!i" ca##s ba"8 n a sing#e mntn&s m!ement, ne and then
!isib#$ e,erting herse#c in an attem:t t rein!igrate her bd$9 Acter a cina# "n!&#si!e
m!ement, in ehi"h she tries t gi!e her a## cr ne #ast time, she a##es herse#c t "##a:se
nt the c#r and remains #$ing there, "m:#ete#$ e,ha&sted9 v&ring the :ercrman"e,
Arbam!i"bs head eas "!ered b$ a b#a"8 s"arc9 an this ea$, the a&dien"e is nt distra"ted b$
Abram!i" as a :ersn r :ersna#it$, and attentin "an be c"&sed n the bd$, ehi"h, d&e
t its ann$mit$, has be"me an abstra"tin9 ur Abram!i", this er8 is an attem:t t rea"h
a state ehere there is n cear c :ain, death r :h$si"a# restri"tins9 The desire t menta##$
enter anther dimensin b$ !erstret"hing nebs :h$si"a# #imits has "nne"tins eith rit&a#s
crm b:rimiti!eb "&#t&res9 Nt n#$ Abram!i" herse#c, b&t a#s the a&dien"e be"mes
entran"ed b$ the :ercrman"e9
K. E:Ft tc phm =Tu RUn GTV . 0Wn JH
i'm !i" !.i r]n
D$a:n X7a&" GN: . YZ JH
The :ercrman"es that be#ng t the bvragn >eadsb series eere the cirst that Marina
Abram!i" "arried &t acter her se:aratin crm U#a$ at the end c the cam&s bThe i!ersj
The Great la## la#8b, in ehi"h the te artist ea#8ed crm te ends c the Great la## c
China t sa$ gdkb$e in the midd#e9 an ca"t, the series a"t&a##$ "nsists c the same
:ercrman"e that is dne se!era# times at !ari&s #"atins beteeen YZZX and YZZr, eith n#$
sma## !ariatins9 an a## !ersins, Abram!i" sits mtin#ess eith a sna8e s#ithering ar&nd her
bd$9 A""rding t Abram!i", the starting :int cr this er8 eas the c##eing
bser!atinj b(na8es "an c##e the energ$ c the :#anet, ehere!er $& :&t them9b Th&s, the
sna8es in the :ercrman"es e&#d a"t&a##$ ne!er g int the a&dien"e be"a&se the$ d nt
s#ither !er i"e, ehi"h s&rr&nded Abram!i" and the sna8es9 The sna8es eere t c##e the
#ines c earmth and energ$ n Abram!i"bs head and bd$9 The se!en "hanne#s c
Abram!i"bs insta##atin bvragn >eadsb crm YZZX, ehi"h are based n st&di rekena"tments
c the e!ents, are a## simi#ar in that she eears a "ren c #arge sna8es in ea"h c them9 fa"h
mnitr shes a "#se &: c Abram!i", eh is a#mst e,:ressin#ess as sna8es s#e#$
s#ither ar&nd her ca"e and ne"89 The same seK&en"e re:eats a cee times b$ means c
diss#!e9 an the s&ndtra"8 c bvragn >ead N9qb, Abram!i"bs !i"ek!er h$:nti"a##$
re:eats bc##e m$ s8in, c##e m$ energies, c##e the earthbs s8in, c##e the "r$sta#bs s8in999
the heat c m$ s8in, dee: in the "entre c m$ being999b9 an bvragn >ead N9rb, the "ntra"tin
c the sna8esb m&s"#es "an be easi#$ nti"ed as Abram!i"bs ca"e is :&shed and distrted b$
the m!ements c the sna8e9 >er #i: is :&##ed and as the sna8e cinds its ea$ einding ar&nd
her ne"8 gi!ing a sense c im:ending s&cc"atin9 As the er8 "#ear#$ recers t the Med&sak
theme as ee## t the m$th#gi"a# s$mb#ism atta"hed t the Great la## c China, sna8es in
genera# are a re"&rring mtic in Abram!i"bs er8 9 an the :ercrman"e bThreeb (YZWd),
Abram!i" and U#a$ #a$ den n the c#r, emitting s&nds crm a btt#e t attra"t cree
raming sna8es t a::ra"h them9 The imminent danger that emanates crm sna8es is ehat
seems t mti!ate :art c Abram!i"bs cas"inatin eith these anima#s, :#a"ing the er8 in the
"nte,t c ear#ier :ercrman"es that :#a$ n the cear c the :arti"i:ants9 bvragn >ead N9Yb,
bvragn >ead N9qb and bvragn >ead N9rb are a#s :art c the Y^k"hanne# insta##atin
bEide Prtrait Ga##er$b (Abram!i" YZW5kqXXq)9
>. [EAB
Giai )2n )S" bit nhFt "5a nh' ngh s #' giai )2n #'m "ng Abram!i"
.. E:Ft tc phm \uan h! t$:n O5
T/" :h;m R7(ati:n in Tim7 (th1 gi.i h2n "A th6, s4 d dai "5a tinh th7n, nPng #-Jng)
The :ercrman"e bRe#atin in Timeb (n"tber YZWW) t8 :#a"e at (t&di GW in %#gna, ata#$9
(itting K&iet#$ cr se!enteen h&rs, Abram!i" and U#a$ eere "nne"ted t ea"h ther b$
means c their hair9 The$ s:ent the cirst si,teen h&rs ding this a#ne, b&t !isitrs eere
a##eed in t eitness the cina# h&r9 The crm c the :ercrman"e bRe#atin in Timeb is sber,
ehi#e the "ntent is "m:#e,, a c&sin c man$ ideas9 U#a$ and Abram!i" are sitting in crnt
c a ehite ea##, their ba"8s t&rned teards ea"h ther9 Abram!i"bs hair, :&##ed ba"8 tight#$
int a :n$tai#, is tied t U#a$bs (b>air is a 8ind c antenna, #i8e air rts c treesb)9 The
s:e"tatr sees them in :rci#e, ea"h #8ing in a diccerent dire"tin9 At the start c the
se!enteenkh&r marathn, the$ are sitting &: straight9 iater, ehen catig&e sets in, Abram!i"
in :arti"&#ar begins t s#&m: a #itt#e, s that their hair, ehi"h eas tied tgether tight#$, begins
t be"me #ser9 The :r"ess ma8es hea!$ demands n bth the :h$si"a# and menta#
stamina c the artists9 an a !er$ sim:#e ea$, the artists tr$ t rea"h a state c harmn$ beteeen
bd$ and mind9 U#a$ and Abram!i" ha!e t re#$ n their menta# strength t be ab#e t sit
sti## cr se!enteen h&rs, eith&t s:ea8ing9 This :r"ess c the s&bmissin c the bd$ t the
mind is a "entra# e#ement in an"ient eastern meditatin9 {hn Cage, eh eas an inc#&en"e t
U#a$ and Abram!i", "a##ed this ba"ti!it$ eithin ina"ti!it$b9 Abram!i", recerring t the
bRe#atin er8b in genera#j ble be"ame a 8ind c :#arit$9 >e :resented the ma#e energ$ and a
:resented the cema#e energ$, and ee tried t "mbine themb9 urm the !er$ &tset c their
":eratin, in YZW^, U#a$ and Abram!i" regarded themse#!es as bandrg$n&sb, as a &nit$
"ntaining bth ma#e and cema#e e#ements9 This idea deri!es crm Gree8, Chinese and
Ameri"an andian s&r"es that des"ribe the me#ting tgether c man and eman, res&#ting in a
state c abs#&te harmn$9
Tham 8h thBmj
Re#atin in M!ement (YZWW)
Re#atin in (:a"e (YZW^)
4. Tc phm S$7athin in< S$7athin :ut GS7($a&7H G.IJJH
U#a$ and Abram!i" intrd&"e the !ide c b%reathing in, %reathing &tb (A:ri# YZWW,
%e#grade) as c##esj ble are 8nee#ing ca"e t ca"e, :ressing &r m&ths tgether9 n&r nses
are b#"8ed eith "igarette ci#ters9b U#a$ sa$sj ba am breathing in ,$gen9 a am breathing &t
"arbn di,ide9b Abram!i"j ba am breathing in "arbn di,ide9 a am breathing &t "arbn
di,ide9b U#a$j ba am breathing in "arbn di,ide9 a am breathing &t "arbn di,ide9b an
N!ember c the same $ear, the re!erse !ersin c b%reathing in, %reathing &tb eas
:ercrmed at the (tede#im8 M&se&m, Amsterdam &nder the tit#e b%reathing &t, %reathing inb9
The intima"$ s&ggested b$ the !ide sti## is a"t&a##$ mis#eading9 ur a#mst teent$ min&tes,
U#a$ and Abram!i" de:end des:erate#$ n ea"h ther t sta$ a#i!e9 The$ share their breath,
eith&t e,terna# a""ess t ,$gen9 The :h$si"a# str&gg#e that ens&es d&e t the #a"8 c
,$gen and t the breathing in c "arbn di,ide is !isib#$ e,ha&sting9 Abram!i" is
seeating :rc&se#$o her breathing is "#ear#$ a&dib#e9 U#a$ manages t "ntr# the rh$thm c
his breathing cr s#ight#$ #nger, b&t sn he is s&ccering t9 At that :int, U#a$ and
Abram!i" are n #nger sitting sti##, b&t are m!ing !ehement#$ t and cr &nti# the$ "annt
ta8e it an$mre9 The$ #et g c ea"h therbs m&ths, gas:ing t regain their breath9 Cm:ared
t the ther :ercrman"es based n bdi#$ stamina, this high#$ stren&&s :ercrman"e is
re#ati!e#$ shrt, d&e t the #a"8 c the mst essentia# ingredient c #ice9
[9 T/" :h;m Eiht]Da$^ G.IJRH. An]T_i
>? t/t nha&
biight g var8b t8 :#a"e at the anternatina# Art uair in C#gne, German$, in n"tber YZWW9
The :ercrman"e eas #ater rekena"ted in a st&di in Amsterdam and ci#med b$ i&is !an
Gasteren (YZWd)9 U#a$ and Abram!i" ca"e ea"h ther in a 8nee#ing :sitin, and ta8e t&rns
t s#a: ea"h ther hard in the ca"e9 v&e t the strng #ight shining nt their ca"es, the$
"annt see the s#a: "ming crm the dar89 At the beginning c the teent$kmin&te
:ercrman"e, U#a$ and Abram!i" are K&iet#$ s#a::ing ea"h ther eith the right hand n the
#ect "hee89 Acter ea"h s#a:, the hand that has de#i!ered it is :#a"ed ba"8 n the #eg c its
ener, ehi"h res&#ts in a reg&#ar rh$thm9 This rh$thm "hanges ehen the :a"e is in"reased9
v&ring the rest c the :ercrman"e, the s#a:s s:eed &:9 U#a$ t&rns his "hee8 teards
Abram!i" ehen she sei:es at him ehereas Abram!i" t&rns her ca"e aea$9 The
:ercrman"e ends ehen Abram!i" d&"8s her head, e!ading the ne,t s#a:9 biight g var8b
rec#e"ts n the re#atinshi: beteeen man and eman9 U#a$ saidj ble e,:ressed the !ari&s
as:e"ts beteeen man and emen, the er8 easnbt n#$ ab&t &rse#!es n&r re#atinshi:
made the er8 :ssib#e, b&t the :ercrman"es eere nt a dire"t image c &r :ri!ate
re#atinshi:9b Nr is biight g var8b ab&t :ain, des:ite the ca"t that s#a::ing is nrma##$
ass"iated eith h&rting smene9 The s#a::ing is &sed as a means teards a higher end9
Abram!i" sa$sj bat is nt the :ain itse#c that matters9 le ne!er did things cr the :#eas&re c
:ain9 le eere #8ing cr a 8e$, a ea$ t brea8 thr&gh the bd$, t :en smething &:,
ehi"h is a desire that "mes crm anther side c tr&th r rea#it$9b As eith the ther er8
crm the bRe#atin er8bkseries, the artists did nt rehearse becrehand9 at is :art#$ d&e t this
that, a#mst [X $ears #ater, the !ieeer eat"hing the !ide is sti## cas"inated b$ this
:ercrman"e9
K. Ch`m t, tc phm LThat A7(9P
U#a$ and Abram!i" said c the series bThat (e#cbj bn&r interest is re#atin9 lith &r pRe#atin
er8p ee "a&se a third e,isten"e, ehi"h "arries pEita# fnerg$p9 This third energ$ e,isten"e
"nm&red b$ &s des nt de:end n &s an$ #nger, b&t has its en K&a#it$ ehi"h ee "a## That
(e#c9 Three as a n&mber means nthing e#se b&t pThat (e#cp9b bThat (e#cb (YZdX) a"t&a##$
in"#&des !ari&s "m:nents, ehi"h "an a#s c&n"tin as se:arate er8s9 The er8 :ens
eith three mn"hrme "#&r cie#ds k red, b#&e and $e##e k that remain n the s"reen cr
sme time9 This is a""m:anied b$ a s&stained tne, ehi"h ne and then be"mes s#ight#$
higher9 Acter this nnkcig&rati!e :ening, bThat (e#cb "ntin&es eith c&r :ercrman"es,
es:e"ia##$ e,e"&ted cr the :&r:se c this ci#m9 The "mmn starting :int c these se:arate
"m:nents is h$:nsis9 U#a$ and Abram!i" saidj ble had training in h$:nsis9 n&r aims
eere t sear"h and e,:#re the s&b"ns"i&s9 le "hse t rea#ihe three "#&r cie#ds and c&r
!isins ehi"h eere des"ribed b$ &s &nder that treatment9 The c&r !isins eere trans#ated
int :ercrman"es cr ci#m9b These :ercrman"es are nt ab&t e,tending #imits b$ means c
:h$si"a# e,ha&stin, b&t rather, ab&t the :eer c "n"entratin9 an bPint c Cnta"tb
({an&ar$gA&g&st YZdX, ci#m st&di, Amsterdam, the Nether#ands, and s&mmer YZdX, v&b#in,
are#and), U#a$ and Abram!i", bth dressed in b#a"8 tr&sers and ma"8et, eith a ehite shirt
&nderneath, stand ca"ektkca"e9 The$ #8 int ea"h therbs e$es, and, eith arms bent, :int
their crecingers at ea"h ther9 lith&t rea#ihing it themse#!es, U#a$ and Abram!i" are
h#ding their cingers at :ra"ti"a##$ the same height d&ring the si, min&tes c the :ercrman"e9
Their cingerti:s are a#mst t&"hing9 bRest fnerg$b ({an&ar$gA&g&st YZdX, ui#mst&di,
Amsterdam) is the se"nd er8 in this series c c&r9 U#a$ and Abram!i" drae a #arge be
and arre, ne h#ding ea"h side9 The arrehead is :inting at Abram!i"bs heart9 The
s#ightest m!ement "&#d be cata#9 Mi"r:hnes n their "#thes :i"8 &: their K&i"8ening
heart beats and U#a$bs irreg&#ar breathing9 Acter c&r min&tes, the$ re#a, the tensin n the
be, and Abram!i" is &t c danger9 The third er8 is a#s shrtj it #asts n#$ nine min&tes9
bNat&re c Mindb ({an&ar$gA&g&st YZdX, ui#mst&di, Amsterdam) ceat&res Abram!i", eh is
eearing a green &tcit9 (he is standing at the edge c sme eater eith her arms stret"hing
&:eards9 Acter sme time, crm a higher :sitin, U#a$, dressed entire#$ in red, ca##s int the
eater, :assing Abram!i" and immediate#$ disa::earing &nder the eater9 lhi#e he is ca##ing,
the$ t&"h !er$ briec#$9 bThat (e#cb "n"#&des eith bTime#ess Pint c Eieeb ({an&ar$gA&g&st
YZdX, a{se#meer, Mar8en, the Nether#ands)9 v&ring the ten min&tes c this :ercrman"e,
Abram!i" res aea$ crm &s teards the hrihn9 The bat is eK&i::ed eith mi"r:hnes
that transmit the s&nd c the ars and the s#shing c the eater t the shre, ehere U#a$
:i"8s them &: thr&gh head:hnes9
htt:jgg"ata#g&e9nim89n#gsitegart9:h:}id_YdqW
K. Ch$i" Su$&7n
Ch$i"t:ph7$ 8Ch$i"8 Su$&7n (brn in %stn, Massa"h&setts in YZr^) is an Ameri"an artist
er8ing in :ercrman"e, s"&#:t&re, and insta##atin art9
%&rden st&died cr his %9A9 in !is&a# arts, :h$si"s and ar"hite"t&re at Pmna C##ege and
re"ei!ed his MuA at the Uni!ersit$ c Ca#icrnia, ar!ine crm YZ^Z t YZWY
%&rden began t er8 in :ercrman"e art in the ear#$ YZWXs, he made a series c "ntr!ersia#
:ercrman"es in ehi"h the idea c :ersna# danger as artisti" e,:ressin eas "entra#9 >is
mst ee##k8nen a"t crm that time is :erha:s the YZWY :ercrman"e :ie"e Shoot, in ehi"h
he eas sht in his #ect arm b$ an assistant crm a distan"e c ab&t ci!e meters9
Yq
nther
:ercrman"es crm the YZWXs eere Five Day Locker Piece (YZWY), Match Piece (YZWq),
[
Deadman (YZWq), B.C. Mexico (YZW[), Fire Roll (YZW[), TV Hiack (YZWq),
r
Doomed (YZW5)
and Hone!t La"or (YZWZ)9
nne c %&rdenys mst re:rd&"ed and "ited :ie"es, Tran!#Fixed t8 :#a"e n A:ri# q[, YZWr
at (:eedea$ A!en&e in Eeni"e, Ca#icrnia9
5
ur this :ercrman"e, %&rden #a$ ca"e &: n a
E#8seagen %eet#e and had nai#s hammered int bth c his hands, as ic he eere being
"r&"icied n the "ar9The "ar eas :&shed &t c the garage and the engine re!!ed cr te
min&tes becre being :&shed ba"8 int the garage9
^
iater that $ear, %&rden :ercrmed his :ie"e $hite Li%ht&$hite Heat at the Rna#d ue#dman
Ga##er$ in Nee wr89 ur this er8 c e,:eriment :ercrman"e and se#ckinc#i"ting danger,
%&rden s:ent teent$kte da$s #$ing n a triang&#ar :#atcrm in the "rner c the ga##er$9 >e
eas &t c sight crm a## !ieeers and he "&#d nt see them either9 A""rding t %&rden, he
did nt eat, ta#8, r "me den the entire time9
W
(e!era# c %&rdenbs ther :ercrman"e :ie"es eere "nsidered smeehat "ntr!ersia# at the
timej anther pdanger :ie"ep eas Doomed (YZW5), in ehi"h %&rden #a$ mtin#ess in a
ga##er$ at the M&se&m c Cntem:rar$ Art, Chi"ag &nder a 5b , db s#anted sheet c g#ass
near a r&nning ea## "#"89
d
%&rden :#anned t remain in that :sitin &nti# smene
intercered in sme ea$ eith the :ie"e9 urt$kci!e h&rs and ten min&tes #ater, m&se&m
em:#$ee vennis nb(hea :#a"ed a :it"her c eater eithin %&rdenbs rea"h and %&rden rse,
smashed the g#ass, and t8 a hammer t the "#"8, th&s ending the :ie"e9
E* t/" :h;m b]n sng !' ta$
htt:jggartcr&m9"mgdiar$gid_dqZZ
E* t/" :h;m Mat"h Pie"e
htt:jggeee9eastcbrne9rggarti"#esginkthekcrntkrekcrk"hriskb&rdenskemmat"hk:ie"eemk
YZWq
E* %&rden !' ngh th&Ut trnh din
htt:jggeee9nee$r8er9"mgartsg"riti"sgarter#dgqXXWgX5gYrgXWX5Yr"raearter#ds"hme#dah
#
5. AT[ART SRIAEEB
Tc phm tiu biu
.. S7n7ath Dinit;< .IJJ
Percrman"e
fng#is"he |&nst ver Gegeneart, %regenh
C##e"tinj Tate
Percrman"e d&ratinj [ da$s
This er8 t8 :#a"e !er three da$s n the K&a$side c #a8e Cnstan"e in %regenh9 a made
ci!e eden crames the sihe c m$ bd$ eith &tstret"hed arms9 C#ear :#$thene eas
stret"hed a"rss te c the crames t :re!ent :aint #ea8ing n t the K&a$9 %#a"8 n$#n "rd
eas tied t crm a "rss sha:e n ea"h crame9 The crames eere #aid &t in a #ine stret"hing
teards the #a8e9
a :#a"ed m$ bd$ &nder the "rd &nder he cirst crame, then stret"hed t e,:ress the e,tent c
the bd$ys rea"h9 ii8eeise eith the se"nd crame and &sed eater t #ea!e a cading resid&e c
the bd$ n the gr&nd9 an the third crame a &sed "ha#8 t decine the #imitatins c the bd$
draen n the gr&nd9 an the c&rth crame a :&red b#a"8 :aint and made the same
m!ements9
ii8eeise eith the cicth and #ast crame &sing ehite :aint9lhere&:n a ea#8ed a cee ste:s t
the K&a$side, di!ed int the #a8e and seam &t, then r&nd the end c the K&a$ ehere a eas
:i"8ed &: b$ a bat9a re:eated these a"tins three da$s9 The b&i#d &: ehite #ines c the "ha#8 a
&sed "&#d be seen9nn the cirst da$ there eere :erha:s ab&t YX :e:#e, and n the #ast da$
:erha:s 5XX9
a "n"ei!ed this er8 crm #istening t miners ta#8ing ab&t the "nstri"tins9 im:sed n the
bd$ in mining the narre seems c "a#9 %&t this er8 is nt ab&t mining9 The tit#e te##s the
s&bme"t c the er89
(t&art %ris#e$ qXYX

b%eneath vignit$, %regenhy (YZWW) eas :ercrmed in "nm&n"tin eith an e,hibitin c
%ritish art in A&stria (fng#ishe |&nst der Gegeneart in (e:tember YZWY)o %ris#e$ eas in!ited
b$ Nrbert i$ntn t ta8e :art9 %ris#e$ had er8ed d&ring this $ear n an Artist P#a"ement
Gr&: :rme"t in Peter#ee in a "mm&nit$ c miners and the tit#e is indi"ati!e c his s$m:ath$
eith the miners, and the #eness (and im:#ied #ne#iness) c their er8ing "nditins9 The
er8 that :re"eded it had a simi#ar :re""&:atin eith digging and er8ing in a::a##ing
"nditins9
an %regenh he eas :resented eith a stri8ing#$ diccerent en!irnmentj a :i"t&resK&e ten b$
the side c a #a8e (ia8e Cnstan"e) eith a sma## m&ntain behind9 This er8 is a res:nse t
this setting, the m!ement crm m&ntain t c#at gr&nd and the #a8e (crm the !erti"a# t the
hrihnta#)9 >e "hse t er8 n a K&a$side, &sing ci!e r&gh#$ "nstr&"ted crames ehi"h
mar8ed the #imits c his :h$si"a# rea"h9 The materia#s ehi"h he em:#$ed eere eater, "ha#8,
:eder (c#&r) and :aint (b#a"8 and ehite)9 >e made ci!e se:arate statements &sing ea"h c
the materia#s, er8ing in a## cr c&r da$s9 an rder t red&"e the drama c the er8 (a
"hara"ter that %ris#e$ abhrs) the cicth crame eas a mi,t&re c b#a"8 and ehite9 nn the #ast
da$ the a&dien"e eas #arge and %ris#e$ a!ided a "#ima, t the er8 b$ m&m:ing int the #a8e
and seimming, re:#i"ating his draeing a"tin in eater, anther medi&m9 >e des"ribes his
a"tin here as simi#ar t the ther er8s in the Tatebs "##e"tin, sheing a :re""&:atin
eith crma#, s"&#:t&ra# :rb#ems9 at is :ssib#e hee!er that %ris#e$ ma$, in hindsight, be
em:hasising this as:e"t at the e,:ense c his :#iti"a# "n"erns9
The :htgra:her cr this er8 eas his criend {anet Andersno he :recerred her :htgra:hs
t thse c a trained :htgra:her, eh he ce#t e&#d ha!e a :arti"&#ar and e,"#&si!e
aestheti"9 The !iee:int cr these :htgra:hs eas ci,ed and de"ided &:n b$ dis"&ssin
beteeen %ris#e$ and the :htgra:her9
P&b#ished inj
The Tate Ga##er$ YZdXkdqj a##&strated Cata#g&e c A"K&isitins, indn YZdr
htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sg%eneathvignit$g:agejqW
4. .ab X:u$" c:$^ 9:$ Td: P7:p(7< .IJa
Percrman"e
A"me Ga##er$, indn
At the A"me Ga##er$ in indn, %ris#e$ :ercrmed YdX >&rs lr8 cr Te Pe:#e (YZWd)9
>e t8 bth r#esj x%z, a !"a# b&rea&"rat inhabiting the &:stairs :art c the ga##er$,
"arec&##$ :reser!ing his &rine and e,"rement and hanging it in a h#e in the c#r, ab!e xAz
eh #i!es denstairs, a mankcckthekstreet as a"ti!e as x%z eas !"a#, b&t eh sa$s nthing9
lhen xAz xdisa::earedz, x%z began :#a$ing his :art, endering a#&d ehere xAz had gne9
nn the cina# da$ c the :ercrman"e, %ris#e$ heard s"reaming crm the c$er9 A eman crm
a :s$"hiatri" eard at a nearb$ hs:ita# had been attending the :ercrman"e ea"h da$,
"n!in"ed that the res#&tin t her :rb#ems #a$ in the res#&tin c the er89 (he had
arri!ed t #ate, missing the end, and eas dri!en ba"8 t hs:ita# in a ta,i s"reaming9
htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sgYdX>&rslr8crTePe:#eg:agej
[Y
>. .b Da;"< .IJ>eJK
fditins Paramedia, %er#in
The :ercrman"e YX va$s ha::ened d&ring %ris#e$s vAAv artist e,"hange t %er#in9
v&ring this :ercrman"e, ehi"h t8 :#a"e beteeen qY t [Y ve"ember YZW[, %ris#e$
ccered the cd he e&#d &s&a##$ "ns&me t his a&dien"e, essentia##$ #i!ing eith&t
an$ s&r"e c cd cr the eh#e YXkda$ d&ratin c the :ercrman"e9
%ris#e$ re"reated the :ercrman"e at the A"me Ga##er$ in indn beteeen qY and [Y
ve"ember YZWd9

htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sgYXva$sg:agejYd
K. An& 9:$ t:&a;... n:thin< .IJ4
Percrman"e
Ga##er$ >&se Gethe anstit&te, indn
Percrman"e d&ratinj A:: q h&rs ea"h da$ cr q eee8s9
a #a$ in a bath c b#a"8 eater in the bathrm c Ga##er$ >&se cr a::r,imate#$ q h&rs
ea"h da$ cr te eee8s9
an the eash basin and n a #edge ne,t t the bath a #aid &t sme cca#9 v&ring the te eee8s
the cca# de"a$ed, c#ies #a$ing eggs and maggts hat"hing &t t ceed9
There eas a #e #ight in the bathrm s it eas dicci"&#t t see e,a"t#$ ehat eas in there9 The
dr eas #ect amar9 The n#$ sign c m!ement eas that c a bd$ rising and ca##ing in the
eater ehen breathing in and &t9 The sten"h c cca# eas !er:eering9
a made a ci#m based n this er8 entit#ed Arbeit Ma"ht urei (Y^mm qX mins)9 The ci#m is in
b#a"8 and ehite and "#&r9 at rec#e"ts the tta# reme"tin c ehat #a$ behind the tit#e k the
erds enshrined n e!er$ Nahi "n"entratin "am:, trans#ates as lr8 Ma8es uree9 at is a
de#iberatin n death9
htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sgAndcrtda$nthingg:agejW
htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sgArbeitMa"htureig:agejY^
5. fER5R>I5C< .IJ4
Percrman"e
Ga##er$ >&se, indn
C##e"tinj Tate
(t&art %ris#e$ made these three er8s d&ring YZdY, a#th&gh the$ "n"ern e!ents crm three
diccerent dates d&ring the YZWXs9 The$ eere "n"ei!ed as er8s in their en right and are nt
sim:#$ d"&mentatins c :ercrman"es9 %ris#e$ is s&s:i"i&s c d"&mentatino he cee#s that
it "an in!est an a"tin eith an ina""&rate, smetimes m$thi"a# stat&s9 >e is an,i&s hee!er
t ha!e sme re"rd ehi"h am:#icies the &niK&e stat&s c the briec e,isten"e c an e!ent and
gi!es it mre than tem:rar$ crm9 >e regards these :ie"es as ha!ing been mediated t s&"h
an e,tenty that the$ be"me smething e#sey, and stresses the im:rtan"e cr him c
de#iberate#$ "nstr&"ting the :htgra:hi" er89 >e has "hsen a sihe c :htgra:hi" :rint
that is "mcrtab#ey cr the er8, ne that he regards as "m:atib#e eith the er8bs
intentinj he e&#d nt, cr e,am:#e, "hse a #arge :rint sin"e he cee#s that this e&#d
"hea:en the er89
bi ^5 ^[ Z5 Cy "n"erns a :ercrman"e made !er se!enteen da$s and nights in A:ri# and
Ma$ YZWq, at the :ening e,hibitin, Three iice (it&atins, c Ga##er$ >&se, 5X Prin"es
Gate, indn (lW, an a#ternati!e ga##er$ s:a"e dire"ted b$ (igi |ra&ss in a :erid becre the
b&i#ding eas "n!erted t ser!e as the nee :remises c the Gethe anstit&te9 >e shared the
e,hibitin eith Mar" Chaimei"h and G&sta! Methgero ea"h &sed a c#r c the b&i#ding,
%ris#e$ ha!ing the gr&nd c#r ehi"h eas nt "hanged in an$ ea$ crm the :re!i&s
""&:antsb (the Mrmnsbs) &se c it cr cci"es9 (The :artitins eere s&bseK&ent#$ rem!ed
cr the e,hibitins that c##eed9) The #arge ba"8 rm eas di!ided int te b$ a "rridro
%ris#e$ retained these e#ements, ne s:a"e be"ming a eaiting rm and the ther the :#a"e
in ehi"h the er8 eas made9 (:e"tatrs "&#d nt enter the artistbs en s:a"e b&t "&#d #8
int it thr&gh a s#it that had been "&t in the ea## b$ the :re!i&s ""&:ants9 This eas
a::r,imate#$ YX [in9 and eas at ab&t 5ct9 ^in9 crm the gr&nd9 at accrded a :artia# !iee
c the rm b&t bs"&red a !iee c eK&i:ment :#a$ing a re"rding c an am:#icied heartbeat9
Ab!e the s#t %ris#e$ had eritten Nn RfA(nN in "arec&# Rman #etters s&ggesting t the
!ieeer that there eas n ratina#e in the e!ents that the$ eere eitnessing9 an the rm %ris#e$
had a ehee#"hair and eater, b#a"8 :aint and c#&r9 >e remained in the b&i#ding cr the eh#e
#ength c the e,hibitin, &s&a##$ s#ee:ing in the basement (ga##er$ administratin area)
thereb$ gi!ing the i##&sin that he eas in the er8ing area thr&gh&t the she9 v&ring the
se!enteen da$s he &sed the materia#s t "hange the s:a"e crm dr$ t eet, t "reate a d&##
atms:here b$ :ainting bth c#r and ea##s becre "hanging it eith the c#&r t :rd&"e a
ehite, dr$, :eder$ s&rca"e9
nne h&r becre the er8 eas cci"ia##$ s&::sed t end %ris#e$ began t 8n"8 den the
ea## ehi"h se:arated him crm the a&dien"eo he did this be"a&se he sensed the er8 t be a
cai#&re (it "&#d nt ha!e been a s&""ess in his !iee) and be"a&se he de"ided t inter!ene and
end the er8 becre the ann&n"ed time9 >e erte n the ea## c the rm Nt A"hie!edy,
the date and time, the a&dien"e entered the rm and the m$stiK&e caded9 %ris#e$ had s&ccered
crm sensr$ de:ri!atin teards the end c the er8, t s&"h an e,tent that diccerent :e:#e
#8ing in thr&gh the s#t #8ed the same and he eas "n!in"ed that "ameras eere g&ns9
The tit#e c the er8 deri!es crm %ris#e$bs Natina# ans&ran"e n&mbero he "hanged his name
t that n&mber b$ deed :## cr the d&ratin c the e,hibitin9 (>is name eas "hanged n#$
ehi#st he eas in 5X Prin"es Gate sin"e he did nt eish t "reate :rb#ems cr his cami#$9)
This a"tin eas :art#$ dire"ted against b&rea&"ra"$ b&t a#s as a rea"tin against :ercrman"e
be"ming an indi!id&a#isti", egtisti"a# a"t9 >e des"ribes eanting t red&"e his :ersna#it$, t
"reate a sit&atin ehere a## the materia#s (in"#&ding himse#c) &sed in ma8ing a er8 eere
gi!en the same !a#&e9 at eas a#s an attem:t t d nthing, t "#se the ga: beteeen ehat he
sae as the ::sed states c e,isting and a"ting9 (%ris#e$ sees his en de!e#:ment crm
ma8ing :aintings s:e"ici"a##$ "n"erned eith materia#s !ia "nstr&"ti!e art (ehi"h
"n"entrated n :r"ess) t a :int ehere the er8 "ame &t int the er#d and the artist
himse#c :ercrmed it9 >e sees this :ie"e as a c&rther ste: in that :r"ess and em:hasises the
crma# K&a#ities that his er8 embdies9)
This er8 eas the cirst ""asin that %ris#e$ :ercrmed a#neo it c##eed :ercrman"es in
fdinb&rgh and indn w& 8ne it ma8es (ensey (YZWq), and :re"eded a se"nd er8
made in {&#$ YZWq at Ga##er$ >&se ehi"h eas &sed as the basis cr his Arts C&n"i# ci#m
Arbeit ma"ht urei9
htt:jggeee9st&artbris#e$9"mg:agesgqWgWXsglr8sgi^5^[Z5Cg:agejY[
III. Phn tch mgt "_ tc phm t$%nh &i'n Qi!t Nam
Tr-Ang TQn Nh+m nh' s'n ~' Anh |h/nh