I’m a backer! :)
Seoul-based Swedish singer Ida Grandas-Rhee invited me to perform with her at the MarieClare+JIMFF music evening in February, here in Seoul.
Ida created sound with her laptop and guitar and sang; her husband KangHee played base; and I composed a few dances to accompany the music. We worked with the whole space, leaving the stage moving through the audience at opportune times.
It was a graceful, flowing set, with the Northern Lights as an inspiration.
- Reblogged from fictionalanatomy
- Reblogged from confusionis
- Reblogged from sancho108
Tehching Hsieh, One Year Performance (Cage Piece). 1978-79.
“For “Cage Piece” Hsieh built a cage from pine dowels and two-by-fours in a corner of his TriBeCa studio, furnishing it with a bed, a blanket, a sink (no toilet) and a pail, as well as some personal hygiene items. He entered the cell on Sept. 30, 1978. Robert Projansky, his lawyer, locked the door and affixed it and each dowel with paper seals that he signed. Every day a friend delivered food and dealt with the artist’s refuse. And each day the friend took a photograph of Hsieh, who had shaved his head at the beginning.
For the next year Hsieh was mostly alone with his thoughts: no talking, reading or writing; no radio or television. On designated days once or twice a month his loft was open to the public from 11 a.m. to 5 p.m.; people could visit it like a gallery and see the work in progress. On Sept. 29, 1979, Projansky returned, verified that none of the seals had been broken, and Hsieh left his cell.” - New York Times article
- Reblogged from littlemissartypants
When Faith Moves Mountains, 2002
Alÿs’s endeavors often exceed the dimensions of discrete objects. In 2002 a group of some five hundred volunteers armed with shovels formed a line at the end of a massive, 1,600-foot sand dune and began moving the sand about four inches from its original location. This epic project, When Faith Moves Mountains (2002), was completed for the third Bienal Iberoamericana de Lima in a desolate landscape just outside the Peruvian capital. The work is neither a traditional sculpture nor an Earthwork, and nothing was added or built in the landscape. That the participants managed to move the dune only a small distance mattered less than the potential for mythmaking in their collective act; what was “made” then was a powerful allegory, a metaphor for human will, and an occasion for a story to be told and potentially passed on endlessly in the oral tradition. For Alÿs, the transitory nature of such an action is the stuff of contemporary myth. [via.]
- Reblogged from sam-pop
- Reblogged from dyannecano