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Ronaldo Ruiz's reply to our project: <i>Timeline of performance art</i>

Ronaldo Ruiz's reply to our project: Timeline of performance art

When I was in college, I have already been doing actions, but I didn’t know I was actually doing performance art. During the 1992 annual foundation day in my school, we took advantage of the event to hold something that would draw attention to our organization. I performed with mud covering my body the Ilocano traditional ritual for spiritual cleansing called atang. When the security guards saw the commotion and came to the rescue, the performance had to end and I ran to the university gym to clean up and change into normal clothes.

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Viennese Actionism: the opposite pole to home improvement

Viennese Actionism: the opposite pole to home improvement

The history of art is the history of how art is received. Susan Jarosi's article concerning "The image of the Artist in Performance Art" in the autumn edition 2011 of Sztuka i Dokumentacja (Art and Documentation) journal shows through the example of Rudolf Schwarzkogler, how, starting with an ambivalent misinterpretation, a persistent myth evolved, which obscures the perception of Schwarzkogler's work.

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Jason Lim’s reply to our projects: <i>What is performance art?</i> and <i>Timeline of performance art</i>

Jason Lim’s reply to our projects: What is performance art? and Timeline of performance art

The last performance informs on the next one; each performance is therefore a practice, a lesson, an exercise and an experience. So, for me to perform is to practice and to learn.

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Sandrine Schaefer’s reply to our project: <i>Feminism in art of artists born on or after 1970</i>

Sandrine Schaefer’s reply to our project: Feminism in art of artists born on or after 1970

Adventures in Being (small) is a project that addresses how humans fit into various environments, both corporally and conceptually. Through this work I have confronted ways in which awareness of an environment changes when my female body interacts with a space in an unexpected way.

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Two festivals, a few comments

Two festivals, a few comments

EPAF and Performance Platform Lublin were organised by the same institution and a similar set of invited artists, but were different when it came to their aims. Warsaw EPAF was more focused on monitoring the state of performance and refreshing performance art forms, and the Lublin Platform emphasised the need to educate spectators and co-operate. Both, however, concentrated on opening and airing the world of performance art.

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