{"title":"Performance on the Blockchain: Zhang Huan and EchoX","authors":"Freda Fiala","doi":"10.1162/pajj_a_00679","DOIUrl":"https://doi.org/10.1162/pajj_a_00679","url":null,"abstract":"In 2002, Chinese artist Zhang Huan crossed through New York’s streets wearing a bodysuit made of raw meat that shaped him with bulging contours and expanded his presence to into a humanoid, Hulk-like figure. By this time, it had been four years since Zhang left China. He had previously studied at the Central Academy of Fine Arts in Beijing, where he graduated in 1993. With personal identity and existential survival being his most pressing topics at the time, Zhang was able to exercise a radical, self-exploitative practice as a performance artist. In 2021, as part of a collaboration with the Taipei-based tech platform EchoX, Zhang created Celestial Burial of an Artist, a digital project that revisited Zhang’s meat-suit intervention My New York, his earlier work that now holds a firm position in the canon of performance art at the turn of the century. The two decades since Zhang’s original performance intervention have seen a trend towards score-based, multiscale practices, depending less on artists’ physical presence, and departing from extreme physical actions. Zhang’s artistic trajectory relates to the conceptualization of the performative, too, even though his practice has since focused on the creation of object-based works.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"27 1","pages":"24-34"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73171028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Grappling with Extremism through Performance","authors":"Brian Valente-Quinn","doi":"10.1162/pajj_a_00682","DOIUrl":"https://doi.org/10.1162/pajj_a_00682","url":null,"abstract":"For the twelfth edition and twentieth year in operation of Les Récréâtrales, a remarkably resilient theatre festival that takes place in Ouagadougou, Burkina Faso, the event’s organizers used as their theme faire visage. The phrase is taken from a work by the Senegalese novelist Mohamed Mbougar Sarr and resonated with the organizers and artists’ affirmed choice to face up, or faire face, to the multiple difficulties that one inevitably encounters in carrying out an arts event in such an economically marginalized country as Burkino Faso. In the past decade, this Sahelian West African nation has experienced profound political instability, as well as widespread insecurity resulting from the threat of violent separatist jihadist forces arriving from its northern region. The security threat has impacted nearly every aspect of life here. According to the Refugee Agency of the United Nations, the country now holds nearly two million internally displaced persons as a result of extremist violence, a figure that represents nearly one tenth of its population. The festival theme’s use of the term visage, a French word that refers specifically to the human face, thus constitutes a call to meet such demoralizing and often dangerous circumstances with a deep sense of humanizing dignity.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"23 1","pages":"53-58"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85312073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"How It Was: Monologue","authors":"J. Fosse","doi":"10.1162/pajj_a_00686","DOIUrl":"https://doi.org/10.1162/pajj_a_00686","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"61 1","pages":"80-112"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81263525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Gift That Keeps on Giving","authors":"William Davies King","doi":"10.1162/pajj_r_00690","DOIUrl":"https://doi.org/10.1162/pajj_r_00690","url":null,"abstract":"CHILDREN BELIEVE DWELLING TRUTH RECEIVE GRACE BLESSING JESUS WORD GOD GLORY CHRIST FLESH WORLD NAME M Q M W C P F E X C E B E D Y W E T V V Y N J V C P Z F C B X O W N W V L Z L H G W A H E U E R O Q M H E L R P M J I L U J H D R D Y K R I C K M L I J P R T O L N I S S X I C D E F L F G T X D R M T H U Y R V Q X L U A D C F A T Q J K E E Y R E C E I V E U X Z T O N G L D S J E W G R A C E N N B R X N H D E Q T J E S U S J G A Y Z A M D W E L L I N G L L O W B D M N E X R W H A C L O L B Q G E E V W H X F C R B R L T S B J L B L E S S I N G Y O","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"70 1","pages":"126-129"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86332188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Self-Portraits","authors":"A. Gregory","doi":"10.1162/pajj_a_00680","DOIUrl":"https://doi.org/10.1162/pajj_a_00680","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"47 1","pages":"35-43"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81739503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Old Injuries and Lost Loves","authors":"A. Levine","doi":"10.1162/pajj_r_00689","DOIUrl":"https://doi.org/10.1162/pajj_r_00689","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"20 1","pages":"122-125"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79257702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Sanctuary for Indecency","authors":"Maria Jose Contreras Lorenzini","doi":"10.1162/pajj_a_00685","DOIUrl":"https://doi.org/10.1162/pajj_a_00685","url":null,"abstract":"Indecencia is a provocative exhibition that embraces secular rituals, improper prayers, and indecorous redemptions. Through an heterogenous corpus of works, including videos, scripts, photographs, costumes, textile interventions, and installations, Indecencia builds an idiosyncratic sanctuary for the excesses that disruptively overflow the parameters of the heteronormative and colonial orders.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"74-79"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79935199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making Movies","authors":"Kenneth King","doi":"10.1162/pajj_a_00678","DOIUrl":"https://doi.org/10.1162/pajj_a_00678","url":null,"abstract":"Computers, mobiles, and media continue to create symbioses between performance and screens. YouTube, founded in 2005 and purchased by Google in 2006 for $1.6 billion, catalyzed a tremendous global communications revolution—digital technology with virtually unlimited storage capacity greatly expanded accessibility, transforming the making of videos, movies, and their dissemination and archiving. Video and movies became virtually synonymous as 16 and 35 millimeter celluloid were replaced by HD, and further accelerated by smart phones whose advanced camera and sound technology has also been used to shoot commercial movies as well as to watch them.YouTube’s mega streaming platform is comprised of millions of free public- access channels with billions of videos, viewers, and revenue enabling anyone to have an outlet and to enjoy unlimited programs (most are free although some require a fee). The new possibilities of instant distribution and social media would have been inconceivable to the pioneering sixties underground New American Cinema filmmakers like Andy Warhol, Jonas Mekas, Gregory Markopoulos, and Stan Brakhage.YouTube’s decentralized accessibility and corporate independence has become the most liberating democratic alternative contra broadcast TV with its commercial restrictions, fixed viewing schedules, and censorship. Breakthrough algorithms enable a wide range of instantly accessible programming—vintage and commercial TV and movie archives from Sarah Bernhardt to Carol Burnett, trailers, news, interviews, presidential addresses, TED Talks, and tutorials on a vast number of subjects including how to make videos with iMovie, etc. Hollywood has been coopted—now anyone can make a movie, supplemented by Apple’s GarageBand recording software. In addition, online performances can reach more viewers than theatre- going audiences.Confession: I never anticipated being able to make my own movies until shortly before the Covid lockdown. During high school and college, I started out as an actor and did three years of summer stock while also training in modern dance and ballet, then got hooked on dance and choreography. Antioch College’s work-study program enabled me to spend alternating quarters in NYC to further my professional dance training. During my final nine-month project leave, I appeared in movies by Warhol, Markopoulos, and Mekas. Just before leaving campus, two student filmmakers urged me to contact Markopoulos, who was looking for actors for his new movie. I did and was cast as Adonis in The Iliac Passion (1967) that featured many underground “superstars,” including Warhol, Jack Smith, Beverly Grant, chanteuse Tally Brown, Taylor Mead, Paul Swan, and the art critic Gregory Battcock. Film offered another opportunity to explore performance. Andy asked me to be in two of his early films—Boys, a series of “screen tests,” and Couch on which you could do anything. Warhol was still a novice but very shrewd—he simply set up his pricey Bolex on a tr","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136353920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Rewards of Attention","authors":"Aaron Loux","doi":"10.1162/pajj_a_00684","DOIUrl":"https://doi.org/10.1162/pajj_a_00684","url":null,"abstract":"hat makes dance an effective art to investigate the nature of consciousness? If the fundamental aspects of conscious experience are space and time, dance operates uniquely in both. Visual art and music isolate and work with only one aspect","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"5 1","pages":"69-73"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75807096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Amar Kanwar: Neoliberalism on Trial","authors":"K. Shankar","doi":"10.1162/pajj_a_00677","DOIUrl":"https://doi.org/10.1162/pajj_a_00677","url":null,"abstract":"This sentence appears as an intertitle in two discrete films in New Delhi-based documentary filmmaker Amar Kanwar’s vast and ambitious art installation The Sovereign Forest (2011–present). It refers to the many forms of forced separation that accompany large-scale extractive projects in India’s rural hinterlands. More specifically, The Sovereign Forest attends to the violence of what sociologist Michael Levien has termed the “neoliberal regime of dispossession” in the Eastern Indian state of Odisha and surrounding regions, in particular the impact of mining operations in the Niyamgiri hills by meganational and multinational corporations.1 Kanwar presents a moving-image installation that is ongoing research into the many dimensions of such dispossession, alongside an exploration of the tenacity and creativity of anti-dispossession politics.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"3 1","pages":"1-13"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86170531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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