This research involves a discourse analysis of several alternative video works produced by Paul Wong, an alternative video artist based in Vancouver, BC. Utilizing Judith Butler's "Subjects of sex/gender/desire," (1999) to comment and expand on Michel Foucault's four 'rules' for conducting discourse analysis, as laid out in The history of sexuality volume I: An introduction, Part Four, Chapter 2, "Method," (1978, 1990) I analyse Wong's 60 unit: Bruise (1976), Confused: Sexual views (1984) and So are you (1994). By focusing on discourses addressing the intersections of gender, race and sexuality in Wong's work, this analysis focuses on how alternative video art can be examined as activist work from a sociological perspective. Wong's video works reflect his engagements with intersecting queer and racialised identities and, through discourse analysis, can be shown to reflect, question and challenge mainstream queer and Chinese histories in Canada. Exploring Wong's contribution to discourses on gender, race and sexuality acts to underscore the contributions of alternative media artists to changing understandings of historical relations and to mainstream historical constructions of identity. Postmodern perspectives inform much alternative video practice and have worked to break down the distinctions between disciplines, recognize previously ignored mediums as legitimate and important forms and also to recognize a multiplicity of narratives and engage with marginalized perspectives. Utilizing postmodern perspectives, then, this research challenges notions of historical 'truths,' in mainstream narratives and histories. / Arts, Faculty of / Sociology, Department of / Graduate

The resurgence of the discussion and practice of performance art in the past thirty years has moved towards the digital age and consequently has been met with a new dimension for exploration: YouTube. This paper investigates a possible reconfiguration of the notion of performance art through the digital archive of performances by South African rap-rave group, Die Antwoord. Utilizing the notions of risk, digital liveness (as posited by Phillip Auslander), and a conceptual dimension of ideas, a distinctive characterization of online performance art is posited. The video archive as conduit, a performative channel of expression, is considered as means of interactive meaning-making processes. This is accomplished by looking at Die Antwoord’s digital archive of YouTube videos and its confrontational content, as well as the responses in the comment section from the YouTube community in order to consider how the archive is reconfigured. / Dissertation (MA)--University of Pretoria, 2016. / Drama / Unrestricted

Orientador: Marilia Vieira Soares / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes / Made available in DSpace on 2018-08-07T23:53:41Z (GMT). No. of bitstreams: 1 Alves_FlavioSoares_M.pdf: 2271387 bytes, checksum: 97ff36d3e0638c6b40ee33831ad017fa (MD5) Previous issue date: 2006 / Resumo: O objetivo é compreender a natureza do processo criativo, observando a experiência do corpo, que encerra, na tensão entre forças opostas, o movimento da dança. A investigação penetrou no interior da linguagem da dança, seguindo os rastros da atuação energética que emana do corpo. ¿Quem dança em mim quando danço?¿. Este ¿quem¿ pode não ter uma identidade concreta, mas nos mobiliza a criação. Frente a este estímulo intangível, de um atuante elíptico de si mesmo, o artista se encontra "Face a ecaF", ou seja, face ao estranho dentro de si. Aberto a esta atraente estranheza, o corpo dá vazão à experiência sensível, e é a partir deste rastro que nos lançamos à criação de uma obra artística. O caminho investigativo trilhado deixou a mostra um processo metodológico vulnerável à inscrita do instante, o que torna o criador um aventureiro que desbrava as brumas de um espaço-tempo por vir ¿ a dança ¿ no curso intempestivo de estados alterados da consciência / Abstract: The objective is to understand the nature of the creative process observing the body experience that embodied in the tension between opposite forces in the dance movement. This study concentrated in the dance language following the tracks of the energy performance that emanates from the body. "Who dances in me when I dance? This "who" may not have a concrete identity but it mobilizes us to the creation. In front of this intangible stimulus, of a performer occult of himself the artist is "Face a ecaF", that's, in front of a stranger inside of himself. This ¿attractive stranger¿ mobilized us to the creation of an artistic work. The investigation indicated a methodology process vulnerable to inscription of instant so the creator becomes an adventurer who tames the mist of a spacetime for coming - the dance - in the untimely course of states changed of the conscience / Mestrado / Mestre em Artes

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:01:16Z (GMT). No. of bitstreams: 1 LopezGallucci_NatachaMuriel_D.pdf: 14025119 bytes, checksum: a406f32a4fbed8d6196a6b893086c00d (MD5) Previous issue date: 2014 / Resumo: Neste trabalho pretende-se pesquisar e refletir sobre o corpo performático do tango interveniente na evolução estilística e nos modelos de representação da cinematografia argentina. Tomando como paradigma o processo de criação do corpo gestual codificado do tango dança dentro do espaço fílmico, o estudo propõe-se a investigar, em perspectiva histórica, as dimensões axiológica e estética a que serviram sas representações da dança nos períodos mudo, clássico, moderno e contemporâneo na Argentina. Essas criações fílmicas constituem um locus, âmbito do intercâmbio de saberes e práticas corporais ritualizadas e espetaculares do povo, e no contexto sociocultural o tango opera como uma categoria de análise estética e de transmissão de valores que constitui um verdadeiro sistema de representação social. Esta pesquisa revelou, nas análises fílmicas e nos estudos fotográficos e coreográficos realizados, de maneira participante, o papel do tango dança na consolidação de uma linguagem cinematográfica característica, cuja dimensão tem sido sistematicamente ignorada pela historiografia. O corpus fílmico organizado neste recorte permite fundar e fundamentar, do ponto de vista imagético, uma discussão estética, mostrando a presença de operações próprias da linguagem cinematográfica, inerente à concepção coreográfica e à filosofia do corpo presentes no tango dança / Abstract: On this study it is intended to research and reflect about tango¿s performance body intervenient in the stylistic evolution and in the representation models from Argentina¿s cinematography. Having as a paradigm the process of creation of the gestural body coded from the tango dance within the film space, the study has the proposal to investigate, in a historical perspective, the axiological and aesthetic dimensions to which served in the representations of the mute, classic, modern and contemporary periods in Argentina. The film representations of the dance constitute a locus, scope of the exchange of corporal knowing and practices ritualized and spectaculars from the people, and tango operates as a category of aesthetic analysis and transmission of sociocultural values which constitutes a truly system of social representation. This research has revealed that, in the film analysis and photo and choreographic studies performed, from a participant manner, the role of tango dance in the consolidation of a characteristic cinematographic language, in which its dimension has been systematically ignored by the historiography; the film corpus organized on this essay allows us to establish and fundament, form the magnetic point of view, an aesthetic discussion, showing the presence of proper operations of the cinematographic language, inherent to the choreographic conception and body¿s philosophy present in the tango dance / Doutorado / Multimeios / Doutora em Multimeios

Orientador: Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:19:58Z (GMT). No. of bitstreams: 1 Villanova_PamelladeCaprio_M.pdf: 7167403 bytes, checksum: 2274b10ab2004d1c9b100d9da7892202 (MD5) Previous issue date: 2014 / Resumo: Uma atriz investiga as performatividades que envolvem os gêneros masculino e feminino. Como rata de laboratório e sujeito científico, experimenta em si e em corpos a seu redor a mitologia da mulher erótica, procurando ultrapassar dualidades em uma exploração andrógena. O mito grego de Helena foi escolhido como campo de provas, material poético estudado principalmente a partir da tragédia As Troianas, de Eurípedes; das pesquisas históricas de Bettany Hughes; das análises do Prof. Junito de Souza Brandão e do romance da francesa Sophie Chaveau. As questões de Helena serão problematizadas pelo viés dos estudos de gênero de Judith Butler e Beatriz Preciado; e da perspectiva do Imaginário, principalmente em Gaston Bachelard e CG Jung. Abordada a partir de suas subversões da feminilidade, como figura dissonante que permanece na arte ocidental desde Homero, a pesquisa busca a exploração andrógena porque os corpos procuram assumir o feminino e o masculino, se propondo a permanecer nas fronteiras, longe das universalizações, ali onde tudo parece confuso e caótico. Assume-se também uma exploração vadia porque a forma de organização das ideias permite o ir e vir entre teoria e prática sem pudores. Este trabalho é teórico-prático, interdisciplinar e autobiográfico / Abstract: An actress investigates performativities involving males and females roles. As a laboratory rat and scientific subject, experiences itself and the bodies around her with the mythology of the erotic woman, looking to overcome dualities in an androgeny exploration. The Greek myth of Helen is the field trials, an engaging poetic material studied mostly from the tragedy "The Trojan Women", by Euripides; the historical research of Bettany Hughes; the analysis of Prof. Junito de Souza Brandão and the novel of the French Sophie Chaveau. Helen's issues will be problematized from gender studies of Judith Butler and Beatriz Preciado; and the perspective of the Imaginary, especially in Gaston Bachelard and CG Jung. Approached from its subversions of femininity, as dissonant figure that remains in Western art from Homer, the research seeks to an androgeny exploration because the bodies seeking to assume the feminine and the masculine, proposing to remain at the border, away from universalizations, where there everything seems confused and chaotic. It is also assumed a slutty exploration because the organization of ideas allows the coming and going between theory and practice shamelessly. This work is theoretical and practical, interdisciplinary and autobiographical / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

abstract: Counter-Landscapes: Performative Actions from the 1970s – Now presents a group of artists working in both natural and urban environments whose work exploits the power of place to address issues of social, environmental, and personal transformation. Through a focused selection of key works made between 1970 and 2019, which extend beyond traditional categories, Counter-Landscapes illuminates how the methodologies created by women artists in the 1970s and 1980s are employed by artists today, both men and women alike. Developing a practice of performative actions, these artists countered the culture that surrounded and oppressed them by embodying the live elements of performance art in order to push for social change. Looking back to the 1960s and the counter-culture mindset of the times, I approach the histories of land, performance, and conceptual art through feminist studies. Then I apply the same feminist approach to philosophical histories of landscape, place, and space. Through a discussion of an extensive range of works by 25 artists, this research seeks to demonstrate the indelible influence of feminist art practice on contemporary art. It brings the work of an innovative generation of women artists—Marina Abramović, Eleanor Antin, Agnes Denes, VALIE EXPORT, Rebecca Horn, Leslie Labowitz, Suzanne Lacy, Ana Mendieta, Adrian Piper, Lotty Rosenfeld, Bonnie Ora Sherk, Beth Ames Swartz, and Mierle Laderman Ukeles—together with more recent work by artists who have adopted and extended their methods. These artists, both male and female, include Allora  &  Calzadilla, Francis  Alÿs, Angela Ellsworth, Ana Teresa Fernández, Maria  Hupfield, Saskia  Jordá, Christian Philipp Müller, Pope.L,  Sarah Cameron Sunde, Zhou Tao, and Antonia Wright. / Dissertation/Thesis / Doctoral Dissertation Art History 2020

Includes bibliographical references (p. 61-64). / As a South African artist I am in power to influence some manner of change, through my art, to the structure of national thought and hence national identity. Through my live art installation TOTANDERKUNTUlT, I offered South Africans the opportunity to engage in the cathartic process of resolution and reconciliation through dialogue. The aim of this dialogue is to engender a new method of practice for a non-racialised approach to the development of an integrated cultural identity that South Africans can work towards. I am not proclaiming to have this identity defined. I am positing saamtrekking as a method of practice for an identity that can be practiced by all race, colours and creeds of South Africans. Saamtrekking is a coming together, it is the acknowledged acceptance of some manner of change towards transformation. It requires acknowledgement in order to be practiced, the subject must practice acts of transformative behaviour in order to transform.

Reading the book Perform or Else by Jon Mckenzie along with the social distancing, isolation, and all the ongoing challenging and forced experiences of the 2020-21 Covid-19 pandemic era, on one hand, and my interests in performance art and physicality, on the other hand, made me think how can I create a work that represents an image of the body, the concept of action, and the idea of togetherness which are all essential for performance art, and/or for any performance. All art disciplines combine theory and practice in order to depict the relationship between bodies, art, and education, and as history proves, theory is always intended to be put into practice. The theoretical and practical in this written thesis begins with its title This Is Not a Thesis; continues by furthering the idea of Perform or Else, asking instead Thesis or Else; and goes on to serve its purpose of being a theoretical concern, a narrative, a genre in and of itself, an exercise in authorship, and furthermore, function as a documentation of documentation of my art – performance – practice. The series of written pieces, performances (rejected proposals), and images (documents) compiled here are meant to create a space between authorship and performance art. This Is Not a Thesis demonstrates the rejection and acceptance of the same thing at the same time.

Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.

Die Enzyklopädie der Performancekunst ist keine weitere Geschichte der Performancekunst. Der empirische und strikt materialistische Zugang zielt darauf ab, einen kompletten und systematischen Überblick zu geben über Materialien und ihren Gebrauch in der Performancekunst sowie Handlungen und ihre spezifischen Qualitäten in der Performancekunst.