Performance Art

 My work is rooted in a specific tradition of performance art, one that emerged in Japan, Brazil, USA and Europe in the 50’s and 60’s as a transgressive medium that disrupted and challenged Western culture production and merged art with life, object with process, artist with artwork. Within these blurred boundaries of definitions I can trace different modes in which I work in performance: the live performance work, the daily routine (which I consider my studio practice), the one to one performance (which is a manifestation of intimacy in my work and a way to keep my door open) and the actions/interventions (which is a direct response to what is happening in the world around me). The full scope of these ideas is manifested in Glasshouse which is the art space I co founded with Eyal Perry in 2007 and became our life’s work.

Archiving The Now

I examine the potential of the archive in performances to extend the experience of it into an active environment. Over the years I’ve directly dealt with performative ways of archiving- from collecting attendants’ DNA upon entering performances through gathering performance remnants in a cabinet-turned-archive, to playwriting as a form of archiving that allows aspects that are outside of the eventness of performance into the framework of the performance “memory” and mechanism of re-performance— the act of archiving became a performative immersive environment of itself, one that generates action rather than passivity of audience looking back, through this approach to the archive the performance is never neutralized. I turn these notions of the archive into a system of sort, a mechanism, a unifying force that regenerates life into what is sometimes perceived as absence.