Characters of Performance Art
(Part I)
Performance art can be understood as the culmination of propensity of anti-art or anti-aesthetics what in west’s history of art happened along one century, since Dadaism emerged and branched out, underwent Allan Kaprow, George Marciunas, Yves Klein, and the other. Now, it becames a genre in itself: that before just an uprising for the definitive in art, now create its typical rule and character. In this article I want to explain some primary characters of performance art.
Performance art focuses itself in possibilities of creativity. Creativity became “password” in performance art. Therefore, it doesn’t focus on the formalism or skill. Here, everything could be claimed as performance art. Artists are defined as “the work of art in progress”. In other words, art couldn’t be determinated by aesthetic of form/graphic, but by it’s influences in people’s life. Then, as the result, art is defined as the creating the meaningful things by people. Here, people transfer the role of artist.
Performance art has the strategic position to “affair” the limits between life and art or unify them. Performance art has the strategic position because it enable touch, appear, and amplify the hidden things in man’s life and culture. Usually, performance art uses “the body” in this case. The body, here, can be seen as medium or producer of symbol of new culture, as manifestation of the inner, or as the source of the really science.
The performance art’s truth or content doesn’t lie on things/forms, but on events: “The truth lies in the Act”. Although performace art is a part of conceptual understanding of art, its really substance lies on the real events, conceptual understanding just a platform.
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