Adrien Sina : Programme Pédagogique Performance

Performance Programme: 


PART I - Future Crowds, Disillusion of the Social Body
PART II - Emotional Mechanics
PART III - Sensorial Body-World Interfaces
PART IV - Fields of intersubjectivity
PART V - Of Mud, of Flesh, of Blood
PART VI - The Theatre of Cruelty
PART VII - Body and space engaged


20th Century Body Politics

Adrien Sina 2004-05

Basis for theoretical and historical research

Film / Video / Sound / Image / Text / Media archives :

Performance, Happenings, Body Art, Political Actionism, Urban Performance, Dance, Choreography, Video-installation, Multimedia Performance, Digital Media Installation, Experimental Cinema, Fashion Design, Architecture, Cyber Culture, Photography, Multimedia Performance


PART I - Future Crowds, Disillusion of the Social Body

I [01] - The early 20th century: utopian communities, libertarian reformulation of the body-nature relation

- Monte Verità: a utopian community, naturist anarchy, 1900s-1920s

Dancers, psychiatrists, poets, artists, anarchists... : Rudolph von Laban, Mary Wigman, Herman Hesse, Gustav Landauer, Martin Buber, Émile Jacques-Dalcroze, Eric Mühsam, Otto Gross, Rudolf Steiner, Isadora Duncan, Hans Arp, Sophie Taeuber, Hans Morgenthaler, Fritz Pauli, Robert Schürch, Jakob Flach....

- Paradigm shifts in space, the break with scenic frontality, the inscription of the body in an autonomous expressive space

Rudolph von Laban (theory: kinesphere, choreutics, eukinetics, cinetography or Labanotation), Mary Wigman (Dance of the Witch, 1913. Dance of the Dead, 1917)

- Shifts in the subject of the dance : the body-nature encounter, USA-France, 1890s-1910s

Loïe Fuller (Butterfly Dance, 1895. Serpentine Dance, 1895-98. Le Lys, 1934), Isadora Duncan, Vaslav Nijinski (L'Après-Midi d'un Faune, 1912. Le Sacre du Printemps, 1913)


I [02] - Fascist Perspectives: disillusion of the social body and the failure of the collective body

- Future crowds, tentacular cities, propaganda and alienation, reality and science-fiction. Poetry, literature, cinema: attraction, repulsion, fascination for the Crowds, 1890s-1930s

Émile Verhaeren (Les Villes tentaculaires, 1895), Ricciotto Canudo (Les transplantés - Les romans des foules nouvelles, 1913), Valentine de Saint-Point, (Les Foules, 1911), Yakov Protazanov (Aelita, 1924), Fritz Lang (Metropolis, 1927)

- Propaganda, fascist iconography and rhetoric, mass choreography, 1920s-30s

Leni Riefenstahl (Triumph of will, 1935), Rudolph von Laban (The Corporations parade Vienna, 1929. Direction of dance at the Ministry of Propaganda, 1934)

- Totalitarian Dystopia: social, political and critical premonitions, 1920s-30s

Alexandre Medvedkin (The agit-prop Stalinian movie-train, 1932. The happiness, 1934), Sergei Eisenstein (The battleship Potemkin, 1925. Octobre, 1927), Fritz Lang (Doctor Mabuse, 1922. Metropolis, 1927), Leni Riefenstahl (The blue light, 1932)

- Totalitarian cults of the body : the healthy and sportive body, "the Transparent Man", 1930s-40s

El Lissitzky (Le coureur dans la ville, 1926), Eugen Mathias (The masculine body, 1931), Alexandre Rodchenko (Place à la femme, 1935. Saut périlleux, Gymnastique rythmique, 1936), Lothar Rübelt (Workers' Olympic games Vienna, 1931. Artistic highdiving, 1935), Leni Riefenstahl (Olympia, 1936), Rudolf von Laban (Olympic games of Berlin, 1936), Joseph Mengele ("medical" experiences in the nazi camps, Auschwitz, 1943)



PART II - Emotional Mechanics

I I [01] - Mechanomorphic Muses, Human-Machine Hybrids

- Migrations, strategies of opposition, Cabaret Voltaire, Dada "soirées", 'MERZabend', 1910s-30s

Hugo Ball, Tristan Tzara, Hans Arp, Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, Mary Wigman, Marcel Duchamp, Francis Picabia, Kurt Schwitters

- Futurism: shift of the art subject from female body to the machine : Manifestos, theatre, dance, concerts and Futurist soirées, France-Italy, 1909-19

Filippo Tommaso Marinetti, Balilla Pratella, Umberto Boccioni, Luigi Russolo - The Art of Noises, Valentine de Saint-Point

- Russian Avant-Garde, Constructivist or Suprematist theatrical experiments, Russia, 1910s-30s

Alexandre Rodchenko, Kazimir Malevich + Mikhail Matyushin

- Emotional mechanics: mechanical ballets, 1920s-30s

Fernand Léger + Dudley Murphy (Le Ballet mécanique, 1925), Alexandra Exter (Ballet Satanique, 1922. Aelita, 1924), Sophie Taeuber (Dada-Soirée, 1916-19. Marionnettes, 1918), Fortunato Depero (Marionnettes and ballet costumes, 1915-30)

- The Bauhaus: industrial modernity, crossdisciplinary dance experiments, Weimar, 1920s

Wassily Kandinsky, Oskar Schlemmer (Triadic Ballet, 1922-26), Lázló Moholy-Nagy (Licht-Raum-Modulator, 1930)

- The dynamic fragmentation of movement, chronophotography, kineticism, 1870s-1930s

Edward Muybridge, Étienne-Jules Marey (Chronophotographies, 1878-90s), Giacomo Balla (Dynamism of a dog on leasch, 1912), Umberto Boccioni (Unique forms of continuity in space, 1913), Anton Giulio Bragaglia (The Violoncellist, 1913), Marcel Duchamp (Nu descendant un escalier, 1912. La Mariée, 1912. Anemic cinéma, 1925), Arturo Bragaglia (L'éventail, 1928), R. A. Bertelli (Continuous profile of Mussolini, 1933)

- The Eve of the Future, erotic mechanics, sexual mechanics, robotic fantasies, 1880s-1980s

Villiers de l'Isle-Adam (L'Ève future, 1886), Man Ray, François Schuiten (Les Machinistes, 1984), Günther Brus (Irrwisch, 1971), Helmut Newton (Ève Future, 1970s)

- Erotic dolls as desire and submission machines, 1930s-2000s

Hans Bellmer (1930s), Allen Jones (1960s-70s), Leigh Bowery (1990s-2000s)

- Multimedia puppet theatre, robotic theatre, cyborgs, body-machine hybridisation, Europe-USA-South-Africa, 1990s-2000s

Faulty Optic, William Kentridge + Hans Bring Puppet Company, Chico Mac Murtrie, David Therrien, Stelarc (Third Hand, 1981-94, Hexapod, 2002)




PART III - Sensorial Body-World Interfaces


III [01] - The augmented body : sensorial body-world interfaces

- Sensorial body-world interfaces 1 : the humanisation of technology, 1970s-2000s

Giuseppe Penone (To reverse one's eyes, 1970), Rebecca Horn (Arm Extensions, 1968. Movable Shoulder Extensions, 1970. Finger Gloves, 1972. Kakadoo, 1973. Mechanical Body-fan, 1974. Rooms Encountering each other, 1975), Charlotte Moorman (Human Cello, 1965), Walter Pichler (Portable Living Room, 1967), Hans Hemmert, Mariko Mori (Miko no Inori, 1996)

- Sensorial body-world interfaces 2 : sensory and communicative clothing, 1950s-2000s

Martha Graham, Rebecca Horn, Atsuko Tanaka (Electric Dress, 1956), Lygia Clark, Marie-Ange Guilleminot (La Robe mercurochrome, 1992. Chapeau-vie, 1995. Le Paravent, 1997), Bibi Boberska (Jelly Dress, 1996), Kenji Yanobe, Noriko Sunayama

- The mandala : rituals and diagrams displaying the body-world continuum

Archeological mandalas of the bronze age, mandalas, Peutinger Tables, Ptolemaic maps, Aztec and Mayan narrative codices, geomancy, trance rituals and cosmogonies


III [02] - Sensorial and perceptual amplifications of reality

- Artists' worlds and their primal elements, 1960s-2000s

Andrei Tarkovsky (L'enfance d'Ivan, 1962. Solaris, 1972. Andrei Rublev, 1972. Le Miroir, 1975. Stalker, 1979. Nostalgia, 1984. Le Sacrifice, 1986.), Bill Viola (Migration, 1976. Chott el-Djerid, 1979. The Passing, 1991. Déserts, 1994. Hatsu Yume, 1981. Anthem, 1983), Marina Abramovic (Dozing Consciousness, 1997)

- Doubled senses, doubled fractures, doubled views of reality, Europe-Canada-USA, 1970s-2000s

Valie Export (Split reality), Michael Snow (La Région Centrale, 1970-71. Two Sides to Every Story, 1974), Dan Graham (Body Press 1970-72), Liz Diller + Ricardo Scofidio (Jet Lag [Donald Crowhurst, Sarah Krassnoff], 1998)

- Amplified edges of reality, multiplied visions, 1970s-90s

Gary Hill (Crux, 1983-87), Bill Viola (The space between the teeth, 1976. The Crossing, 1996. The world of appearances, 2000. Emergence, 2002), Gary Hill (Site/Recite, 1989), Andreas Gursky, Teiji Furuhashi (Lovers, 1994), Paolo Rosa - Studio Azzurro (Totale della battaglia, 1996), Maria Marshall (Playground, 2002)

- Stretched temporality, repetitions, 1970s-90s

Lucinda Childs (Einstein on the Beach, 1976), Bill Viola (He Weeps for you, 1976), Trisha Brown (Set and Reset, 1983), Douglas Gordon (Reconstituting John Ford and the Searchers, 1995), Emmanuel Carlier (Temps mort, 1995), Roman Opalka

- Deconstruction of the point of view of the perceptual and psychological subject, Europe-USA, 1970s-90s

Michael Snow, Dan Graham, Tony Oursler, Gary Hill, Bruce Nauman, Carsten Höller, Cathy Sisler

- Multimedia performance and theater, Europe-Japan-USA-Israel, 1990s-2000s

N+N Corsino, Batcheva, Liz Diller + Ricardo Scofidio, Teiji Furuhashi [dumb type] (pH, 1991. S/N, 1993. OR, 1999), La Fura dels Baus, Daniela Kurz, Susan Kozel, Hotel Proforma, Lázlo Hudi (La Tragédie de l'Homme, 2000), Jean-Marc Matos + Anne Holst (IR, 2000), José Montalvo

- Interactive video or digital installations, Europe-Japan-USA, 1990s-2000s

Paul Sermon, Tecla Schiforst, Christa Sommerer, Dumb Type, Paolo Rosa (Studio Azzurro), Jeffrey Shaw

- Digital photography manipulating the body's representations, Europe-USA, 1990s-2000s

Inez van Lamsweerde, Nicole Tran Ba Vang, Anthony Aziz+ Sammy Cucher, Benoît Méléard, Keith Cottingham

- Virtual interactive music, sound installations and performances, USA-Europe, 1970s-2000s

Laurie Anderson (Automotive, 1971. O, Superman, 1981), Michel Waiswisz, Robin Minard, From Scratch

- Sensorial and perceptual amplifications of space, evanescent geometries, 1970s-2000s

James Turrell, Bruce Nauman, Wolgang Laib



PART IV - Fields of intersubjectivity

IV [01] - Fields of intersubjectivity 1: identity, alterity, minority

- Collision between cultures: orientalism, exoticism, eroticism, politics and the construction of feminine myths, Europe, 1910s-30s

Ruth Saint-Denis, Mata Hari, Joséphine Baker

- The artist's body : wounds and cries, 1970s

Marina Abramovic (Art must be beautiful / Artist must be beautiful, 1975), Rebecca Horn (Cutting one's hair with two scissors at once), Günther Brus (Self-mutilation, 1965), Gina Pane (Action Psyché, 1974), Arnulf Rainer (Face Farces, 1969-72)

- Gender performance, sexual politics, feminism, identity/alterity/minority, social and political critical strategies, USA-Europe, 1960s-2000s

The Guerrilla Girls (Campaign against racism and sexism within the art world, 1984), Carolee Schneemann (Interior Scroll, 1975), Judy Chicago (Red Flag, 1971. The Dinner party, 1979), Annie Sprinkle (Bosom Ballet, 1985), Hannah Wilke (Super-T-Art, 1974. Gestures, 1974), Barbara Kruger, Adrian Piper, Sadie Benning

- Feminine Identity, critical social and political strategies, 1930s-2000s

Claude Cahun, Hannah Wilke, Valie Export, Elke Krystufek, Carolee Schneemann (Meat Joy, 1964. Fuses, 1965. Up to and Including Her Limits, 1973-76), Nan Goldin, Jenny Holzer, Sarah Lucas, Pipilotti Rist


IV [02] - Fields of intersubjectivity 2: the couple, the dual or reflexive relationship

- The enigma of the couple: power relations, submission/domination, fusion/divorce, 1970s-2000s

Marina Abramovic + Ulay (Relation in Space, 1976. Talking about Similarity, 1976. Breathing in, Breathing out, 1977. Expansion in Space, 1977. Relation in Time, 1977. Light/Dark, 1977. Balance Proof, 1977. AAA-AAA, 1978, Rest Energy, 1980. Night Sea Crossing Conjunction, 1979-86. Walk on the Great Wall, 1988), Yoko Ono + John Lenon, Andy Warhol, Maguy Marin (Eden, 1986), René Magritte, Dan Graham (Body Press 1970-72), Liz Diller + Ricardo Scofidio (His / Hers, 1996)

- The couple: imaginative displays and fantasy traps, 1940s-2000s

Maya Deren (Meshes of Afternoon, 1943), Stephen Dwoskin (Moment, 1968), Yoko Ono + John Lenon (Bed Peace, 1971), Vito Acconci (Three Relationship Studies, 1970. Seedbed, 1972), Paul Sermon (Telematic Dreaming, 1992), Andreas Serrano (A History of Sex, 1995), Sophie Calle

- The couple: identity permutations, homosexuality/heterosexuality, 1960s-2000s

Andy Warhol (Beauty # 2, 1965. Kiss, 1963), Vito Acconci (Applications, 1970. Contacts, 1971). Yvonne Rainer (Lives of Performers, 1971), Michel Journiac (24 heures dans la vie d'une femme ordinaire, 1974. L'Inceste, Variations Incestueuses, 1975), Maria Klonaris + Katerina Thomadaki (Jardins de l'Hermaphrodite endormi/e, 1982-1985), Robert Mapplethorpe

- The reflexive couple: the self with the self. Transvestism, sexual ambivalence, altered identities, 1920s-70s

Marcel Duchamp (Rrose Sélavy, 1921), Urs Luthi (Self-portrait, 2pieces, 1976), Claude Cahun (Self-portraits, 1919-28), Pierre Molinier, Michel Journiac (Homage to Freud, 1972)


IV [03] - Fields of intersubjectivity 3: the body and the social language

- Expressionist dance, Tanztheater, Europe-USA, 1910s-60s-90s

Mary Wigman, Harald Kreutzberg, Pina Bausch, Susanne Linke, Johann Kresnik, Reinhild Hoffmann, Gerhard Bohner, Martha Graham

- Body Art ( Art Corporel ), identity and social language, France-USA, 1970s-80s

François Pluchart (ArTitudes International, 1972. Manifestes de l'Art Corporel, 1974-80), Michel Journiac, Gina Pane, Chris Burden, Vito Acconci, Henri Maccheroni...

- The body given to the public, the sociology of voyeurism and aggression, 1960s-90s

Valie Export (Tap and Touch Cinema, 1968. Genital Panic, 1969), Michel Journiac (Piège pour un voyeur, 1969), Marina Abramovic (Rhythm 0, 1974), Abramovic + Ulay (Imponderabila, 1977), Yoko Ono (Cut Piece, 1964), Ana Mendieta (Rape Scene, 1973), Chris Burden (Shoot, 1971), Adrian Piper (Streetworks, 1970. Catalysis IV, 1970-71), Orlan (Le Baiser de l'Artiste, 1977), Annie Sprinkle (Post-Porn-Modernist Show, 1992), Elke Krystufek (Satisfaction, 1996)

- The subject and the social context, experimental film, Europe-USA, 1970s-90s

Andy Warhol, Jack Smith (Flaming Creatures, 1961. Normal Love, 1963), Chris Marker, Chantal Akerman, Cindy Sherman, Wim Wenders

- Human fragility, flexible coexistence, intersubjectivity, the contemporary social body, 1970s-90s

Pina Bausch (Kontakthof, 1978. Two Cigarettes in the Dark, 1985), Ann Teresa de Keersmaeker (Rosas danst Rosas, 1983. Achterland, 1994. April me, 2002), Sasha Waltz (L'Allée des Cosmonautes, 1999. Körper, 2000. NoBody, 2002), Tatsumi Orimoto (Art Mama, 1999)

- The contextual and social language of the body, the gaze of the other, Europe-USA, 1990s-2000s

Vanessa Beecroft (Show, 1998), Nadine Norman, (Call Girl, 2000), Sam Taylor-Wood, Nan Goldin


IV [04] - Fields of intersubjectivity 4 : the missing intersubjectivity

- The violent soliloquy, destruction of narcicism, 1960s-90s

Samuel Beckett (Murphy, 1965), Marina Abramovic, (Art must be beautiful / Artist must be beautiful, 1975. The Onion, 1996), Vito Acconci (Shadow Box, 1970. Shadow-Play, 1970), Gina Pane (Psyche, 1974), Pina Bausch (Café Müller, 1978), Rebecca Horn (Cutting one's hair with two scissors at once), Ben Vautier (Ego Exercise), Valie Export (Remote Remote, 1973), Absalon (Bruits, 1993)

- Dreams and words beneath solitude, 1950s-90s

Samuel Beckett (La Dernière bande, 1959. Oh les beaux jours suivi, 1974), Andy Warhol (Eat, 1963. Sleep, 1963), Marina Abramovic (Image of Happiness, 1996. The House with the Ocean View, 2002-03), Anne Robertson (Apologies, 1984), Sam Taylor-Wood (Soliloquy, 1998)


IV [05] - Fields of intersubjectivity 5 : interacting with animals

- The animal, disturbing mirror of the human, 1970s-2000s

Marc Thomspon (Live-In Hive, 1979), Marina Abramovic (Dragon Heads, 1989-90. Cleaning the Mirror, 1995. Balkan Baroque, 1997), William Wegman (1970-78), Carsten Höller (Loverfinches, 1995. The human zoo, 1997), Aija Liisa Ahtila (Dog Bites, 1991), Joseph Beuys (Eurasia 32, 1963. Comment expliquer la peinture à un lièvre mort, 1965. Iphigenie/Titus Andronicus, 1969. I Like America and America Likes Me, 1974. 7000 chênes, 1982), Valie Export + Peter Weibel (From the portfolio of Doggishness, 1968), Jill Orr (Lunch with the Birds, 1979), Jayne Parker (The world turned upside down, 2001), Oleg Kulik (Memento Mori, 2003)


IV [06] - Extended fields of intersubjectivity : Cyberculture, mediaculture, art virusing the mass media

- Art virusing mass media culture, Europe-USA-Canada, 1990s-2000s

Fred Forest, Mell Chin - The Gala Committee, Nadine Norman

- Communication, media culture, cyber theory, 1960s-2000s

Marshall McLuhan, William Gibson, Paul Virilio, Friedrich Kittler, Hakim Bey, Norbert Wiener, Critical Art Ensemble




PART V - Of Mud, of Flesh, of Blood


V [01] - The body and material engaged

- Japanese avant-gardes, happenings and manifestos. Gutai and Neo-dada groups, Japan, 1950s-60s

Jiro Yoshihara, Atsuko Tanaka, Saburo Murakami, Kazuo Shiraga, Shozo Shimamoto (First Exhibitions of the group, 1956-57). Ushio Shinohara, Masnobu Yoshimura.

- Happenings, Pop Art events and films, Europe-USA, 1960s-70s

Allan Kaprow (18 Happenings in six parts, 1959), Christo, Claes Oldenburg, Martial Raysse, Niki de Saint-Phalle (Tir à Volonté, 1961), Jean-Jacques Lebel (l'Enterrement d'une chose, 1960)

- Performance as sculptural behaviour, USA-Europe, 1960s-2000s

Louise Bourgeois (A Banquet, 1980), Richard Serra (Hand Catching Lead, 1968. Hands Scraping, 1971. Hands Tied, 1971), Gilbert & George (The Singing Scuplture, 1969), Eva & Adele

- Action painting, automatism, trance and hallucination, 1930s-1950s

Henri Michaux (Entre centre et absence, 1936. Plume, Lointain intérieur, 1938. Misérable Miracle, 1956), Jackson Pollock (Allover, poured painings, 1946-47. Dripping. Film de Hans Namuth, 1951)

- Body fluids : impregnation, expulsion, transformation, 1940s-90s

Duchamp (Paysage Fautif [fluide séminal], 1946), Carolee Schneemann (Eye Body, 1963. Meat Joy, 1964), Paul McCarthy (Face Painting, 1972), Shigeco Kubota (Vagina Painting, 1965), Michel Journiac (Boudin au sang humain, 1969), Andy Warhol (Oxydation Painting, 1978), Helen Chadwick (Piss Flower, 1991), Janine Antoni (Loving Care, 1992), Tracy Emin (Exorcism of the last painting I ever made, 1996), Andreas Serrano (Ejaculation in trajectory, 1989, Piss Light, 1987, Semen and Blood, 1990)

- Skin-print and body-print actions: rayograms, anthropometries, 1910s-90s

Man Ray (Schadographie, 1918. Rayograph, 1922, Emak Bakia, 1926), Robert Rauschenberg (exposed blueprit paper, 1950), Yves Klein (Anthropometries, 1958), Ana Mendieta (Silueta, 1976), Janine Antoni (Eureka, 1993)

- Bodies and matter: eroticised play, 1960s-90s

Carolee Schneemann (Meat Joy, 1964), Niki de Saint-Phalle (Shooting, 1961), Annie Sprinkle (Bosom Ballet, 1985), Marie-Ange Guilleminot (Mes Poupées, 1993), Chantal Michel (. . . .1+1+1+1+1 . . ., 1998)


V [02] - Mutant Flesh : Clinical Identity

- Late 19th century discoveries of clinical identity, the psychosomatic expression of emotions, madness and hysteria

Duchenne de Boulogne (Electro-physiological experiments, 1855-56), Jean-Martin Charcot (Photographic iconography of La Salpétrière hospital, 1870s-90s)

- Clinical Identity : écorchés, opened bodies, diseases, infirmities, operations, 1970s-2000s

Bob Flanagan, Hannah Wilke (Portrait of the Artist with Her Mother Selma Butter, 1978-81. Intra-Venus, 1993), Jayne Parker (K, Inside out, 1990), Orlan (Opération Réussie, 1990. Omniprésence, 1993), Stelarc (Stomach Sculpture, 1993-94), Joel-Peter Witkin, Matthew Barney (Cremaster 3, 2002), Franko B. (Mama I Can't Sing, 1995-96. Protect Me, 1996. I'm Not Your Babe, 1996-97. Aktion 398, 1998-2001. I Miss You, 1999-2000. Oh Lover Boy, 2000-01), Bernard Lallemand, Veronica Bromova (Other views, 1995-96), Liz Diller + Ricardo Scofidio (Normal Pharmaceuticals, 1996), Dumb Type (OR, 1999)

- Post-mortem, representations of death, and immortal flesh, 1990s-2000s

John Isaacs (The Matrix of Amnesia, 1997), Marc Quinn (Self, 1991), Andreas Serrano (The Morgue, 1992), Ron Mueck, Jake + Dinos Chapman (Unnameable, 1997), Teresa Margolles (groupe Semefo), Art Orienté Objet



PART VI - The Theatre of Cruelty

VI [01] - Theatre of Cruelty : psychoanalysis of human civilisation

- Body fragility in torsion and decomposition. Wounds, tortures and scars of war, 1900s-50s

Gustav Klimt, Francis Bacon. Alberto Giacometti, Henry Moore, Jean Fautrier, Germaine Richier

- The Theatre of Cruelty: the body and the cry, traumas and tragedies, 1930s-1990s

Antonin Artaud (Le Théâtre de la Cruauté, 1933), Pablo Picasso (Guernica, 1937), Marina Abramovic (Balkan Baroque, 1997)

- The Surrealist Revolution: distorsion of the body imaginary, Europe, 1920s-30s

André Breton, Salvador Dalí, Luis Bunuel (Un Chien Andalou, 1928), Eli Lotar (Abattoir, 1929), Max Ernst, Georges Franju (Le sang des bêtes, 1949)

- Eros and visceral spaces, Surrealist and dream spaces, 1910s-40s

Salvador Dalí, René Magritte, Roberto Matta, Joan Miro, Frederick Kiesler, Hermann Finsterlin, Giorgio De Chirico

- The blood of slaughter, the political sexualisation of cruelty : Viennese Actionnists, 1963-72

Otto Mühl (Material Action, 1964-70), Günter Brus (Ana, 64. Silver, Self-painting, Self-mutilation, 1965. Aktionsraum, 1970), Hermann Nitsch (1st Action Painting, 1960. Orgien Mysterien Theater, 1965-98), Rudolf Schwarzkogler (Hochzeit, 1965)


VI [02] - Artists' response to war : figures of trauma, revolt and lamentation

- The first wars of the century, 1910s

Valentine de St Point (la Guerre, 1912), Nijinski (Danse de l'horreur et de la guerre, 1917)

- Political actions and engagement : artists against the Vietnam war, 1964-1979

Martin Scorsese (The Big Shave, 1976), Joseph Beuys (I Like America and America Likes Me, 1974), Gina Pane (L'escalade non anesthésiée, 1971), Chris Burden (The Atomic Alphabet, 1970s), Yoko Ono (Cut Piece, 1964)

- After Hiroshima, dances of pain and darkness: Butoh, Japan-France, 1940s-60s-80s

Tatsumi Hijikata, Carlotta Ikeda, Ushio Amagatsu - Sankaï Juku, Min Tanaka

- Cold Wars, Warm Wars : points of view of the East and the West, 1940s-90s

Tadeusz Kantor (Théâtre clandestin à Cracovie, 1942, Cricot 2, 1955), Zofia Kulik, Chris Marker (La Jetée, 1962. Level Five, 1995)

- War in Bosnia: The dark and obscure substance of humanity, 1990s-2000s

Marina Abramovic (Belgrade), Enki Bilal (Belgrade), Fred Forest, Lebbeus Woods, Tomasz Pandur (Babylone, 1996. Inferno, 2001)

- Religious and ideological wars, figures of trauma and lamentation, 1930s-2000s

Martha Graham (Heretic. Lamentation, 1930), Pina Bausch (Viktor, 1986), Mona Hatoum (Roadworks, 1985), Shirin Neshat (1990s-2000s), Sigalit Landau (Hoop, 2000)

- Architecture, war, destruction and catastrophe, 1940s-2000s

Paul Virilio (Bunker Archaeology), Lebbeus Woods, Enki Bilal, Daniel Libeskind


VI [02] - Political actions and social engagements

- Concentrationnary Dystopias, injustice, artists and political engagement, 1920s-2000s

Krzystof Wodiczko (Le Bâton d'Immigré, 1992. Porte Parole, 1995), Alfredo Jaar, Hans Haake, Andreas Serrano (Klansman, 1990), William Kentridge (Felix in exile, History of the main complaint, 1994), Mona Hatoum, Joseph Beuys, Marina Abramovic, Valentine de St Point, Fred Forest, Yoko Ono, Shirin Neshat, Christian Boltanski, Absalon

- Theatre of the absurd and the human condition : political and social dimensions. Europe, 1920s-2000s

Valesca Gert (Surrealist Dances, 1926. Cabaret Kohlkopp, 1932), Bertolt Brecht, Samuel Beckett, Tadeusz Kantor, Heiner Müller, Tomaz Pandur, Goran Stefanowski (Hotel Europa, 2000), Jean Michel Bruyère (Poèmes à l'Infecte, 1996)



PART VII - Body and space engaged


VII [01] - Body, space , environment, architecture and the city

- Architecture and performance in Vienna, 1960s

Coop Himmelb(l)au, Haus-Rucker-Co, Hans Hollein, Walter Pichler, Kleiner Raum

- The Situationist International 1957-72, Dérive, hypercities, instant cities and urban megastructures, social and media paradigm shifts, Europe-USA

Guy Debord, Constant, Ron Heeron - Archigram

- Public space : urban performances, architectural implications, Europe, 1960s-90s

Günther Brus (Vienna Walk, 1965), Gordon Matta-Clark, Trisha Brown (Walking down the side of a building, 1970. Roof Piece, 1973), Daniel Buren, Orlan (MesuRAGES d'Institutions et de Rues, 1972), Joseph Beuys (Balayage, 1972), Odile Duboc (Trois regards intérieurs, 1993), Markus Kreiss, Ernest Pignon Ernest, Georges Rousse, Tadashi Kawamata, Anthony Hernandez, Hans Haake, Krzystof Wodiczko, Marina Abramovic + Ulay (Imponderabilia, 1977), Jochen Gerz, James Turrell (Heavy Water, 1991-92), Spencer Tunick (Naked States, 1993-2003)

- Face-to-face between body and environment, Land Art actions, USA-Europe, 1960s-70s

Natalia LL (Points of support Constellation Cygnus, 1978), Gina Pane (Pierres déplacées, 1968. Situation Idéale, 1969. Semences de graines de chanvre, 1970. Continuation d'un chemin de bois, 1970. Deuxième projet du silence, 1970. Pierre de corps, 1970), Ana Mendieta, Joan Jonas (Mirror Performance, 1968. Miror Piece I, 1970), Robert Smithson, Dennis Oppenheim

- Body-space relationships : complicity and paradox, 1960s-2000s

Samuel Beckett (Watt, 1968), Bruce Nauman (Bouncing in the Corner, 1968. Wall-Floor Positions, 1968), Chantal Michel (Sorry Guys, 1997, Mögliches Vorhaben, 1998), Richard Serra (Hand Catching Lead, 1968, Hands Scraping, Hands Tied, 1971), Stelarc (Suspension, 1976-88), Joëlle Bouvier + Régis Obadia (La Chambre, 1987), Pipilotti Rist (Mutaflor, 1996), Mariko Mori (Miko no Inori, 1996), Kitsou Dubois (Zero gravity, 1999), Philippe Ramette (Balcon, 1999), Patty Chang (The Extension of Nothing, 2000)

- The sci-fi body and sci-fi architecture in films and comic strips, Europe, 1970s-90s

HR Giger, Enki Bilal, François Schuiten + Claude Renard, Druillet, Gimenez, Cadelo, Moebius

- Human containers, performance and corporeal architectures, Capsule-Hotels, 1970s-2000s

Absalon, Ico Parisi, Lygia Clark, Mariko Mori, Marie-Ange Guilleminot, Kenji Yanobe, Hans Hemmert, Rebecca Horn, Bibi Boberska, Kenji Yanobe, Noriko Sunayama, Krzystof Wodiczko, Jean Dubuffet, Ionel Shein, Kisho Kurokawa


VII [02] - Instant art and body strategies

- Artistic snapshots: performance, provocation, sense of humour, 1910s-2000s

Marcel Duchamp (Tonsure, 1919), Piero Manzoni (Sculpture vivante, 1961), Yves Klein (Saut dans le Vide, 1960), Charles Ray (Plank Piece, 1973) Holger Trülzsch + Vera Lehndorff (Stalltüre, 1975), Erwin Wurm, Chantal Michel, Natacha Lesueur, Sandy Skoglund, Daniel Canogar

- Fluxus happenings, mental exercices, performing concepts, social and political street events, Europe-USA, 1950s-70s

Joseph Beuys, Ben Vautier, George Brecht, Nam June Paik + Charlotte Moorman, Yoko Ono (Fluxfilm, 1964-70. Bottoms, 1965, Fly, 1970)

- Absurd or psycho-paradoxical theatre, video and performance displays, Europe, 1960s-2000s

Samuel Beckett ( Watt, 1968), Philippe Ramette (Balcon, 1999), Made in Éric, Grands Magasins (Nos oeuvres complètes, 1999), Forced Entertainment (12am: Awake & Looking Down, 2003), La Ribot (Panoramix, 2003)


VII [03] - Crossdisciplinary fields of dance and body-related creation as a search for permanent renewal

- Points in Space: an unpredictable basis for contemporary choreography, New York, 1950s

Merce Cunningham, John Cage, Jasper Johnes, Robert Rauschenberg

- The Judson Dance Theater, New York, 1962-66

Trisha Brown, Lucinda Childs, Yvonne Rainer, Carolee Schneemann, Steve Paxton, Meredith Monk, Simone Forti

- Contemporary choreography, Europe-Argentina, 1980s-2000s

Anne Teresa de Keersmaeker, Mats Ek, Lloyd Newson - DV8 Physical Theatre, Mark Tompkins, Jean-Claude Gallotta, William Forsythe, Karole Armitage, Jiri Kylian, Joëlle Bouvier + Régis Obadia, Mathilde Monnier, Maguy Marin, De La Guarda, Josef Nadj, Rui Horta, Jan Fabre, Roxane Huilmand, Michèle-Anne de Mey, Angelin Preljocaj, Karine Saporta, Wim Vandekeybus, Sasha Walz

- Art, fashion design and cyber culture, Europe-Japan, 1960s-90s-2000s

Paco Rabanne, Thierry Mugler, Jean-Paul Gaultier, Issey Miyake, Rei Kawabuko, Walter van Beirendonck - W&L.T., Jeremy Scott, Art Point M, Hussein Chalayan, Alba d'Urbano, Nicola Costantino

© Adrien Sina