PALS Performance Art Links - 2018

Gusztáv Ütõ (Romania)

2015-05-18T16:34:48+00:00

Ütõ Gusztáv presents performance actions combining political and poetic impulses that respond to current and local situations.

http://kukker.manna.ro/showvideo/686
http://www3.tvr.ro/magyar/ro/2011/08/adatbank-cafe-uto-gusztav-kepzomuvesz/

Aapo Kustaa Korkeaoja (Finland)

2015-05-18T16:33:54+00:00

“To me art is an open invention-playground that provides value on the personal as well as the public level. It is a necessity for positively progressing environment and personally a unique way for expression. In my various interests besides arts, such as farming and politics, I try to keep up a naive and honest approach.”

Aapo Korkeaoja"Human Vulture" photo credit: Aapo Korkeaoja

Marit Lindberg (Sweden)

2015-05-18T16:33:14+00:00

http://www.maritlindberg.se

Artists: Elisabet Apelmo and Marit Lindberg
Actor: Magnus Schmitz
Title: We are Swedish policemen, we are good. from the exhibition Polis, Polis, Potatismos! at Malmö Konsthall 2010 Photo credit: Elisabet Apelmo and Marit Lindberg

Sten Hanson (Sweden)

2015-05-18T16:32:35+00:00

Sten Hanson has been working with experimental music, literature and art since the beginning of the 1960's, cultivating both instrumental, vocal and electro-acoustic music for performance on radio and television, on outdoor occasions or from the concert platform. From an early stage he was aware of the importance of tape-recording techniques in the renewal and development of poetry’s resources. Text-sound-visual image, often combined with intensely personal 'live" performances, are vital ingredients in Sten Hanson's artistic workmanship and he is ore of the forerunners in the field of multi-media art. He himself has been on numerous performing and lecturing tours all over the world. He was quick to realise the importance of the tape recorder as a factor in the renewal of poetry and the ability of text-sound compositions to break the isolation often experienced by an author in a small language area. His works include electro-acoustic pieces as well as instrumental and vocal compositions. From the end of the sixties up to 1979, he worked essentially with electroacoustic music and created, with Lars-Gunnar Bodin, Åke Hodell, Bengt Emil Johnson, the theory and the practice of a new aesthetic field: "The electronic text-sound". Sten Hanson realized a large number of works in various styles : works for television, ballet music, performances, audiovisual performances assisted by computer, pieces for instruments and tape and/or electronics, works for orchestras and computer music. Many of his early compositions were short, hard hitting collages of text and sound with a socially and politically committed content: Che (1968), Western Europe (1969), Revolution (1970). In other works the emphasis was more on humorous burlesque: Coucher et souffler (1968), How are You (1969). Compositions like Fnarp(e) (1970) and L’Inferno de Strindberg (1971) have passed through more extensive electro-acoustic processing, as is also the case in the humorous but cautionary The Flight of the Bumblebee (1982).

Phot credit: Bodin and Hanson Music Photos, Creative Commons license

http://www.niklasbelenius.com

Yuras Barysevich (Belarus)

2015-05-18T16:31:42+00:00

Artist and art historian. Member of the art associations The Second Front of Arts, Schmerzwerk, the Belarus Writers’ Union and Belarusian Collegium educational project.
Barysevich searches for the borders of human being: do we really live in our bodies and think with our minds?

http://navinkifestival.org/

http://arbogast.livejournal.com/

Guds Söner (Sweden)

2015-05-18T16:30:54+00:00

Guds söner (The sons of god), Leif Elggren and Kent Tankred, was founded in 1988,
after several years of collaboration on a varity of projects
Guds söner´s field of activity can be described as an investigation of a mental airspace, undertaken with the aid of unconventional tools. The aural aspect is important, but equal care is devoted to the visual.
Guds söner is often augmented with supplementary performers who then also influence the ideas and their expression.
Guds söner put themselves at the disposal of civil defence and strive to imbue fortitude and courage.

http://www.thesonsofgod.se/

Marta Bosowska (Poland)

2015-05-18T16:30:19+00:00

"In my artistic work I am combining various forms of artistic expression, involving lots of aspects of perception. Mainly, it is an installation, object and performance. My work and actions are the result of permanent searching, sorting and collecting. I am nurturing emotional plots, recalling them with a help of signs, sounds and places. I am choosing straight gestures, situations, objects and materials surrounding a person in everyday life. My actions are based on a history, personal and collective experiences. I am trying to discern details, which often elude one and become forgotten. The reflection to which I am encouraging stems from the experience of reality."

No title. Photo by Jordan Hutchings

Agnes Nedregard (Norway/UK)

2015-05-18T16:29:45+00:00

Agnes Nedregard is a Norwegian performance artist. She shares her observations of life's unpredictabilites and irrationality through a visceral language of images and actions in performative encounters, where our personal and cultural histories can be exposed and scrutinied. Agnes also teaches, lectures, organises events and engages in projects supporting visual performance art and artists.

Agnes will show the work "You, me and the other - ME", which is the second performance in a trilogy about encountering ourselves when meeting the other. This time you will meet ME.

"In encountering new experiences, situations and people, we always carry our own histories, and our personal and cultural judgements. In my work I explore how, in a performative encounter, these can be exposed and scrutinized. Observations of life's unpredictabilites and irrationality are shared through a visceral language of actions, images, objects and aterials. The place, but predominantly the people present, will always be part of determining the content, format and outcome of the work", - says Agness.

http://agnesnedregard.com/

Even out the pressure, photo: Henry Chan, performance for 7a*11d International Festival of Performance Art, Toronto 2010

Bartolomé Ferrando (Spain)

2015-05-18T16:28:50+00:00

I always take the poetic image as a starting point in my work in the realm of visual poetry, object poetry, object book, sound poetry, installation and performance. The sphere of poetry helps me to build, to construct pieces and structures which I can use to approach and head into the areas of music, plastic art and action. The result of all this is an oeuvre that could be categorised and set in the field of intermediate art, a practice in which the most prominent feature is that a work can be interpreted from the angle of at least two different artistic domains, since it straddles both areas.

I would finally like to add the fact that humour can be found in many of my objects and performances, trying to make its presence felt from the interiority of the pieces.

- Bartolomé Ferrando

TEXT ON MY PERFORMANCES

I make a gesture, a movement, a particular action, mostly along with a common object or several utensils, used in an unusual way.

I make a gesture, a movement, nothing to do with narrative practice and right outside the discourse of what is known or might be guessed.

During the action, I feel my body as just another object, mentally lacking the capacity to articulate, to connect up the tools I am using.

Irony often pokes through the piece, through the action.

- Bartolomé Ferrando

TEXT ON MY PHONETIC PERFORMANCES

Sometimes the work I do has a phonetic component. The fragmented, boned, dissolved or massed word is uttered in the form of lumps, agglomerates that are devoid or almost stripped of any sense. The air of the vowels belches out the sound and leaves them standing only in their skin. The voice particles head on out in front and trail behind the language blocks to create a waxing or waning amalgam. The residues of speech maintain their own inherent musicality in a sort of parthenogenesis and often end up losing any vestige of semantic connection. But some times, on the other hand, they would rather be seen in raw flesh, sore with meaning. Irony flickers through blinking eyes, whispering its presence, but also hides behind the clamour of consonants and vowels.

- Bartolomé Ferrando

http://www.bferrando.net/

Ferrando. Línea sonora. Artnomade Chicoutimi 2. Foto Valèrie Lavoie

BBB Johannes Deimling (Germany)

2015-05-18T16:27:56+00:00

The artistic and international position BBB Johannes Deimling has is the result of his remarkable enthusiasm, the energy and incredible passion he put in his art work and general practice. He has never studied at an art academy. As an autodidact he was simply self-studying, driven by the fascination of the possibilities and varieties of art and he still quotes that “my studies haven’t found an end till now.
Even Deimling is located in the performance art scene he would never describe himself as a ‘performance artist’ but more as an visual artist who use performance to articulate his ideas, researches and point of views in art and society.

http://www.bbbjohannesdeimling.de

All Saints. Photo by Monika Sobczak, www.mmonikasobczak.com, performance in Paris 2011.