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They choose to reject this commodity fetishism by creating work which vanishes once it has been made, that deals with the here and now, and that can rarely be hung on a gallery wall.Ī Live Artist may find their concerns rotate around issues of form, experimenting with the possibilities of a performance or an event. For some, this has been a reaction to the commercial art-market, where objects become discrete commodities which are bought as investments, accrue value, and are sold on. Many artists have left the galleries and the theatres and seek more public and specific sites to make their work. There have always been artists who have worked at the margins of their discipline, experimenting outside the established norms of what it means to be a sculptor, a dancer, an actor.
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Live Art offers a haven to artists whose work does not comply with the strictures of traditional designations and gives those practices legitimacy within contemporary culture.īut although the term ‘Live Art’ is relatively new, live art practices and methodologies have a clear history and lineage. The physical body, even if present in the same space as the audience, is not necessarily ‘performing’ certainly not in the theatrical sense of ‘pretending to be someone else’. Live Art may incorporate many other elements than performance but is founded in a conceptual framework where the performer, the director, the ‘doer’, is the artist. While Performance Art had been an established genre in the US since the 1970’s, the term ‘Live Art’ was an attempt to acknowledge the diversity of live based arts practices. Artists were making work that wasn’t quite dance, that couldn’t be called theatre, that didn’t fit into any of the categories on offer. The term ‘Live Art’ came into usage in the UK in the mid-1980’s, and was born out of a frustration by arts professionals to account for art practices that expanded or escaped the classifications in use. Or at least even if they are not physically present, the artist sets up a situation in which the audience experience the work in a particular space and time, and the notion of ‘presence’ is key to the concerns of the work. So instead of making an object, or an environment (a painting for example) and leaving it for the audience to encounter in their own time, Live Art comes into being at the actual moment of encounter between artist and spectator. What is live art? Well, at its most fundamental, Live Art is when an artist chooses to make work directly in front of the audience in space and time.
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Performance: 28 August 2002, Oxford Street, LondonĮxhibition: 27-30 March 2003, Tate Modern, Londonīroadcast: 18 September 2004, Channel 4 TelevisionĢ9 June-22 July 2006, Points d'impact, Piano Nobile, GenevaĤ October-18 December 2007, The Grey Room, Teater Giljotin, StockholmĢ0-30 November, 2007, Videofronteras, La Casa Encendida, MadridĢ4-26 January, 2008, Excursions Festival, Limerick City Art Gallery