Staging the self: Feminist performance art and autobiographical performance

1998 ◽  
Vol 18 (4) ◽  
pp. 394-400 ◽  
Author(s):  
M. Heather Carver
Keyword(s):  
Performance Art ◽  
The Self ◽  
Feminist Performance ◽  
Autobiographical Performance

Remembering Feminist Remimesis: A Riddle in Three Parts

2014 ◽  
Vol 58 (2) ◽  
pp. 14-32 ◽  
Author(s):  
Rebecca Schneider
Keyword(s):  
Performance Art ◽  
Women Artists ◽  
Cindy Sherman ◽  
Feminist Performance ◽  
Marina Abramovic ◽  
Global Art

Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.

scholarly journals Razor head

1997 ◽  
Vol 21 (1) ◽  
pp. 53-55
Author(s):  
Sean Spence
Keyword(s):  
Personality Disorders ◽  
Performance Art ◽  
The Self ◽  
Psychiatric Setting ◽  
Marina Abramovic

In psychiatric studies of artists, performance art has been relatively neglected. The work of Marina Abramovic places emphasis upon the crossing of limits: both physical and mental. Here the self-wounding which occurs in such a context is contrasted with that seen in the psychiatric setting, among those diagnosed as having ‘personality disorders'.

The Persistent Imagining of a Future Alternative: Feminist Alternative Performance at Present in Singapore

Maska ◽  
2018 ◽  
Vol 33 (189) ◽  
pp. 66-70
Author(s):  
Jennie Klein
Keyword(s):  
Full Advantage ◽  
Performance Art ◽  
Women Artists ◽  
Southeast Asian ◽  
Performance History ◽  
Feminist Performance ◽  
Local Alternative ◽  
The World ◽  
Performance Events ◽  
Selection Of

The article covers the Singaporean performance festival Future of the Imagination (FOI) 10, which has persistently since 2003 been taking full advantage of the Southeast Asian country’s efforts to present a more open, globally and culturally relevant face to the world by, among others, lifting its ban that year on performance art. The author Jennie Klein takes an in-depth look at FOI 2015 and its decision to focus on women and feminist performance for this iteration, its success in gathering together an international selection of women artists, linking the festival not only to other likewise alternative performance events in the region but to its own local alternative performance history, and shows the significance of these moves in the greater context of Southeast Asian alternative feminist performance as well as its connection to the movement globally.

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