2^nd Exhibition of the Members of the Art and Documentation Association – a report

On February 2^nd, traditionally in the Wschodnia Gallery in Lodz, there was an opening of the second exhibition of the Art and Documentation Association. During the exhibition one could familiarise oneself with the activity of the Association and the individual works of its members including theoreticians of art. The exhibition was on till February 18^th.

Theodor di Ricco’s reply to our project What is performance art?

Walking into a room, removing a rubber ball from a pocket and bouncing it on the floor is performance art if the performance artist declares the action to be such. If an observer sitting in a lecture hall and watching someone dressed in yellow maneuver himself to a seat is performance art if the observer declares it to be such. Performance Art does not have a beginning or an end. It happens. It is time based and its ephemeral quality is it commodity.

“Eternal Performer” and her/ his position within the context of the contemporary world - Milan Kohout’s reply to Wladyslaw Kazmierczak’s text Performance-education-fiction

Before we investigate the position of artists within the contemporary world, we should first define what is her/his historical role within society. According to my definition, art is an endless Aristotelian circle (wheel) with three rotating words in it — art is politics is life is art is politics is art.¹ Of course the word politics is understood as the derivation of the old Greek word “polis” being the city state, where politics was perceived as community anchored care about the common welfare.

Power of Label vs. Creativity – Another Performance Art Night at F.A.I.T! (Krakow)

Performers more and more often avoid grandioso festivals and mainstream art centres in order to appear in new, unknown and low-budget places. It is all about eliminating the artificial relationship between artist and institution and the game that is often a consequence: which form may an artwork adopt in order to comply with a tangle of institutional bans, limits, directions and suggestions? Certainly the artist is someone important for an institution but at the same time he/she is a threat.

Brian Connolly’s reply to our project: Timeline of Performance Art

Regarding my first performance, as far as I can remember it was part of a Cabaret Night organized by Anne Seagrave in Mother Redcaps Bar in the Liberties area within Dublin. But first I need to put things into context. Not long before that, in 1991, I had organized 'Available Resources' in Derry with Alastair Mac Lennan, Brian Kennedy, and Nick Stewart, via the Orchard Gallery. It was my first direct experience of a range of International Performance Artist's work, including works by Tomas Ruller, Zygmund PioTrowski, Artur Tajber, Alastair Mac Lennan, Richard Martel, Nick Stewart, Alana O'Kelly and James King.