Women in art with their bodies…

by Katyslany

This is the heart of inspiration for me lately: Woman as subject and object.

 

Actionpant: Genital Panic, рerformance, Valie Export 1969


“She entered a cinema wearing trousers with a triangle of fabric removed at the crotch and walked between the rows of seated viewers. Her action was intended to confront the cliché of women’s cinematic representation as passive objects. The posters were then fly-posted in the streets. ‘I wanted to be provocative, to provoke, but also aggression was part of my intention…I sought to change the people’s way of seeing and thinking’, the artist has said.”

 

Interior Scroll, Carolee Schneeman 1975


“In 1975, Schneemann performed Interior Scroll, a Fluxus-influenced piece featuring her use of text and body. In her performance, Schneemann entered wrapped in a sheet, under which she wore an apron. She disrobed and then got on a table where she outlined her body with dark paint. Several times, she would take “action poses”, similar to those in figure drawing classes.[24] Concurrently, she read from her book Cézanne, She Was a Great Painter. Following this, she dropped the book and slowly extracted from her vagina a scroll from which she read. Schneemann’s feminist scroll speech, according to performance theorist Jeanie Forte, made it seem as if “[Schneemann]’s vagina itself is reporting […] sexism”

Yoko Ono Cut Piece 1964

 

In this first and several subsequent performances, Ono herself sat kneeling on the concert hall stage, wearing her best suit of clothing, with a pair of scissors placed on the floor in front of her. Members of the audience were invited to approach the stage, one at a time, and cut a bit of her clothes off which they were allowed to keep.

Marina Abramovic

Rhythm 10, 1973

In her first performance Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game in which rhythmic knife jabs are aimed between the splayed fingers of her hand (5-finger fillet). Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and recorded the operation.
After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging together past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing, the double sounds from the history and from the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.”[12]

 

And because I love Marina…

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