“Performance Art has a pretty bad rep these days. I guess we can’t really be surprised, especially if we compare it to its beginnings in the seventies, where originality and creativity ran wild. It was all about power, strong visuals and long term goals. If we want Performance Art to make a bolder message and to actually mean something, it needs to have a clear concept and above all it needs to mirror society and culture. What else is art if it is not a reflection of our time?”
If you’ve read any of my articles before, you’ll be aware that I am pretty tolerant when it comes to performance art. Despite the increasing scepticism that surrounds it, I tend to see the beauty and passion in it as inherent qualities of art in practice. I recently wrote an article about the young performance artist Milo Moiré, who hit the headlines last month when she stood naked in a square in Cologne, pushing ‘egg’s out of her vagina. Naturally, she got ripped by the press and the art world, but I still found myself defending her. Why? She had made a somewhat convincing statement about art and its relation to life despite a pretty volatile appearance. She focused on concept disguised behind controversial aesthetics, and I totally rate that.
Unfortunately I can’t say the same about Moiré’s most recent attempt at performance art. It was devoid of everything great performance art should have, concept, originality and shock factor. At…
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