Full documentary of the III VENICE INTERNATIONAL PERFORMANCE ART WEEK "Fragile Body – Material Body" 2016
Produced by VeniceDocumentationProject / Filmed and edited by Samuele Cerubini
ARTISTS OF HONOUR (LIVE | EXHIBITION | PRESENTATION): Marcel·lí Antúnez Roca,Marilyn Arsem, Janusz Bałdyga, Giovanni Fontana, Franko B, Antonio Manuel, ORLAN, Stelarc.
EXHIBITION: Marina Abramović (US/Serbia) | Dimitris Alithinos (Greece) | John Baldessari (US) | Lisa Bufano (US) | John Cage & Klaus vom Bruch (US/Germany) | Sophie Calle (US) | Cassils (US/Canada) | Panos Charalambous (Greece) | Thanassis Chondros/Alexandra Katsiani (Greece) | Coco Fusco & Guillermo Gómez-Peña / Paula Heredia (Cuba/ Mexico/US) |Ria Hartley (UK) | Mona Hatoum (Lebanon) |Irwin (Slovenia) | Maria Karavela (Greece) |Maria Klonaris & Katerina Thomadaki (Greece) |Arrigo Lora Totino (Italy) | Tran Luong (Vietnam) | Ato Malinda (Kenia) | Paul McCarthy (US) | Ana Mendieta (Cuba/US) | Linda Montano (US) | Charlotte Moorman & Nam June Paik (US/South Korea) | Andrea Morucchio (Italy) | Otto Mühl & Hermann Nitsch (Austria) | Bruce Nauman (US) | OHO Group (Slovenia) | Yoko Ono | Leda Papaconstantìnou (Greece) | Mike Parr (Australia) | Douglas Quin + Lorne Covington (US) | Pipilotti Rist (Switzerland) | Lerato Shadi (South Africa) | Demetrio Stratos (Greece) | Matej Stupica & Lenka Đorojević (Slovenia) | Theodoros,sculptor (Greece) | Bill Viola (US) | Andy Warhol & Jørgen Leth (US/Denmark) | Lawrence Weiner (US) | Jud Yalkut (US) | Mary Zygouri (Greece) | ART WEEK Fringe: Aisha Ryannon Pagnes, Matilde Sambo & Furio Ganz, Wiktoria Wojciechowska.
LIVE PROGRAM: Janusz Bałdyga (Poland) | Evangelia Basdekis (Greece) | Nathalie Mba Bikoro (Gabon/UK) |Samanta Cinquini & Luca Nava (Italy) |Helen Cole (UK) |Alexander Del Re (Chile) | Jeannette Ehlers (Denmark) | Nicola Fornoni (Italy) |Christina Georgiou (Cyprus) | Gim Gwang Cheol (South Korea) | gyrl grip (US/Ireland) |Jeff Huckleberry (US) | Casey Jenkins (Australia) |Anna Kosarewska (Ukraine) | KörperSchafftKlang (Germany) | Kyrahm + Julius Kaiser (Italy) | Sara Kostić (Serbia) | jamie lewis hadley (UK) | Andrea Marcaccio (Italy) |Noé Martínez & María Sosa (Mexico) |James McAllister (Australia) |Johann Merrich (Italy) |Mladen Miljanović (Bosnia&Herzegovina) | Martin O'Brien (UK) | Fyodor Pavlov-Andreevich (Russia) | Alexandros Plomaritis (Greece) | Alicia Radage (UK) | Preach R Sun (US) | Ivana Ranisavljević (Serbia) |Mauro Sambo (Italy) |Marcel Sparmann (Germany) |Suka Off (Poland) |Susanne Weins & Sašo Vollmaier (Germany/Slovenia) | ART WEEK Fringe: Ronald Bal,Giovanni Barbera, Jin Bells, Bianca Bonaldi, Bruno Camargo,Giorgia De Santi, Giovanna Fattoretto, Gabiele Longega, Giulia Mattera,Valeria Munoz, Rudi Salpietra, Cristiana Zeta Rolla, Jasmin Schaitl, Stefania Soskic, Erica Storer de Araujo,Keike Twisselmann,Cristiano Vignotto.
The III VENICE INTERNATIONAL PERFORMANCE ART WEEK took place at European Cultural Centre | Palazzo Mora and Palazzo Michiel in Venice, December 10-17, 2016 under the focus Fragile Body – Material Body. It concluded the trilogy project following the first two editions Hybrid Body – Poetic Body and Ritual Body – Political Body that took place in December 2012 (Palazzo Bembo), and in December 2014 (Palazzo Mora and Palazzo Michiel).
The live art exhibition project dedicated to contemporary performance art showcased in its third edition works of over 80 international performance artists from around the globe, some of which presented in cooperation with prestigious cultural institutions and foundations. Pioneers of this art discipline exhibited and performed alongside established and emerging artists, reflecting influences and current tendencies in the field.
The project consists of an exhibition of performance installations, photographic and video documentation as well as vibrant program of live performances, talks, screenings and meetings with the participating artists, researchers and curators.
For this third edition with the focus Fragile Body – Material Body, the works present physical, mental and spiritual bodies as primary material of artistic expression, aiming to investigate a wide range of concepts pertinent to the art forms of performance art, Live art and Body Art, such as: authenticity, living entities and their relations towards one another; fragility and vulnerability of the individual and of the social relationships; mental and spiritual states rendered through liminal physical and corporeal manifestation; as well as encouraging questions around the post-organic transformations and mutations to which we subject the human body.
The presence of human beings in this world is always more than a temporary condition: the communication that can be triggered between artists and the audience is an essential element. The topics addressed during the week will relate to the need to look at social relations and the lives of individuals with greater care.
Due to the specificity of this edition's theme Fragile Body – Material Body, the live performances and works on display also seek to provide reflection and further considerations on how to find meaningful mechanisms to foster positive change through contemporary culture and art in a vital way.
The ART WEEK BLOG includes with reflections, features and interviews by our residence writers.
The word "fragile" is often associated with the locution "handle with care": this is
precisely where the III VENICE INTERNATIONAL PERFORMANCE ART WEEK heads, this
time around, raising awareness on the precariousness of life through
performance art. It is a
call to action – to practice a more mindful, careful and respectful behaviour
towards the Other, in the words we say, thoughts we think, and things we do. Toying
with the paradox of the strength and fragility of our physical bodies, the
first requirement here is to step beyond mere appearances and limitations.
does not only imply negative connotations – it is rather a continuous memento
mori for its existence in thoughts, convictions, systems, beliefs, and a
reminder to live with full awareness of the complex ephemerality of our times,
taking care of all that surrounds us, near and far.
the physical body (the primary medium of the practice of performance art),
human relationships and their inherent frailty are considered. With
frailty comes the potential for destruction and with destruction comes the
potential for growth: of the individual, social, political, spiritual and
de-construction as a necessary tool for development, the word "care" implies
real engagement in dealing with an emergency, or to possibly evaluate a given
situation from all sides, therefore also reflecting on its potentials and
value. Eventually, depending on the conclusions of these evaluations, to "handle with care" can either mean to protect that which is fragile or to
courageously engage in transformation, to the point that the only way "to deal
with a world so evidently and increasingly unfree, it is to become so
absolutely free that our very existence is an act of rebellion... for rebellion
cannot exist without a strange form of love." (Albert Camus)
Thesaurus defines the term "material" as an alternative adjective for the body of
a human being, and many historical references in literature indicate the
material body as the door to reach the spiritual body, that which has to be transcended
in one way or another to reach our spiritual matter.
upon the perception of our material bodies to understand and eventually
reinforce the spiritual one, is a central question in Oriental religions as
well as in the Holy Thursday, when in the garden of Gethsemane, finding his
disciples in sleep, Jesus rouses them and warns them by saying: "The spirit
indeed is willing, but the flesh is weak." (Matthew 26:41).
of the Christian connotation, this sentence is relevant because it states that
if the flesh is weak (pars constituent of our material body, which is fragile
and destined unavoidably to caducity), the spirit is "willing" (in Greek
πρόθυμον = prothemon), desirous to do what is right – that 'right' that we
feel, perceive, is also necessary for an ethical formation, as Kant argued in
The Critique of Practical Reason (1788).
philosophical investigations (by Aristotle, Hegel, Jung, Watts, to cite a
few) that have inquired into the nature of being focusing on the phenomenology
of the spirit, up to the latest holistic perspectives and neuroscience
researches, seem to agree on the fact that the parts of something are
intimately interconnected and explicable only by reference to the whole, and
that it is our material body that tells us (of the need) to nurture our spirit
and tune in to its true desires.
words, it is like saying that if the spirit tends towards that which is good,
true, complete, beautiful, and attainable because of our material body, the continuous
metamorphoses that the material body undergoes throughout life (because of its
inevitable organic decay, which still lasts long after death), might be even
interpreted as evidence of a transcendence from all that is material, and proof
of the life-giving shape of the being (itself).
can be certainly refutable. Every proposition has its Achilles' heel because "all the propositions say the same thing, to wit nothing" (Ludwig
Wittgenstein): the language only comes up to where it can get for "the limits
of our language mean the limits of our world." (LW)
does it mean for a being to be? What is existence? What can be said to exist?
Everything we see could also be otherwise. Everything we can describe at all, could also be otherwise. Perhaps we humans are just a cosmic accident with a very short life span and the world we live in is "all that is the case. This is how things stand." (LW)
SO THEN: WHY PER•FORM?
to act and give essence to what cannot be said, accepting, taking, contrasting,
enduring, forsaking, forgiving, passing over or through – with dignified
silence – what we cannot speak about but we're aware of, and with it all that
is elusive and illusory.
everyday people – because it makes no difference and there is no diversity – we appear just for what we actually are.
mirror each other carrying within us our own ideals, ideas, sufferings, loves,
fears, dreams, sensualities and ironies as pure treasures to express and share,
shaping together a time-based social sculpture: a creative temporary community
which reflects freedom and respects it.
Yoko Ono. Exhibition view of the sculpture Position Piece - A Hole (2010/2015) at the III Venice International Performance Art Week 2016. Photograph by Claudia Popovici.
Andy Warhol / Jørgen Leth. Exhibition view of the videoAndy Warhol eating a Hamburger from the film 66 Scenes from America (1982) at the III Venice International Performance Art Week 2016. Photograph by VestAndPage.
John Baldessari, Exhibition view of the videos I Am Making Art (1971) and I Will Not Make Any More Boring Art (1971) at the III Venice International Performance Art Week 2016. Photograph by Claudia Popovici.
Charlotte Moorman & Nam June Paik. Exhibition view of 26'1. 1499 for String Player - Human Cello (1955) (1964) at the III Venice International Performance Art Week 2016. Courtesy Fondazione Bonotto. Photograph by VestAndPage.
Charlotte Moorman. Detail of the exhibition view of the sculpture Bomb Cello (1984) at the III Venice International Performance Art Week 2016. Courtesy Fondazione Bonotto. Photograph by VestAndPage.
Paul McCarthy. Exhibition view of the video Painter (1995) at the III Venice International Performance Art Week 2016. Photograph by We Exhibit.
Ana Mendieta. Exhibition view of the super-8mm film transferred to high-definition digital mediaSweating Blood (1973) at the III Venice International Performance Art Week 2016. Photograph by We Exhibit.
Raquel Cecilia. Exhibition view of the documentary Ana Mendieta, Nature Inside(2015) at the III Venice International Performance Art Week 2016. Photograph by VestAndPage.
VestAndPage. Exhibition view of the light box photograph of the performance Panta Rhei VI: Time (2012) (2016) at the III Venice International Performance Art Week 2016. Photograph by VestAndPage.
Mike Parr. Exhibition view of the performance documentation of the action BDH (2016, held at Carriageworks for the 20th Biennale of Sydney) at the III Venice International Performance Art Week 2016, Palazzo Mora. Photograph by We Exhibit.