Homage Performances

When I started developing my live performance practice in the early 2000s, I had to figure things out on my own. I read every book I could find, but because visual performance art was not accessible where I lived, I developed homage performances as a pedagogic tool of understanding works, both for myself and the audience. Since then, I have worked with the concept of homage across my roles as an artist, educator, curator, and scholar. Homage performances are a collective effort to historicize performance art through a process of call-and-response. These homage performances are not reproductions of an original, but intimate conversations with iconic works.

Some of my homage performances include:

• The Dollhouse (2008, 2010)- Homage to VALIE EXPORT’s Tap and Touch Cinema (1968)

• Probably Asking for It (2009, 2010, 2017)- Homage to Yoko Ono’s Cut Piece (1964)

• For Better, for Worse (2009, 2010)- Homage to Marina Abramovic’s Rhythm 0 (1974)

• I Am Not Resisting (2012)- Homage to Ana Mendieta’s Untitled (Rape Scene), 1973

• Fan of Violence (2014)- Homage to Maya Deren’s documentary film Meditation on Violence (1948)

• Ra-Ma-Ch Eivarim (2025)- Homage to Marina Abramovic’s Balkan Baroque (1997)