La exposición Performance en Vivo: Carolee Scheenmann, Papo Colo y Marina Abramovic fué histórica en la isla, una revista multimedia de trabajos y documentación de piezas claves de este grupo de artistas del performance contemporáneo. La misma se presentó en el MAPR y lamentablemente solo un pequeño grupo de personas fueron testigos. Me imagino que el que Museo no supo como promoverla... hay que admitir que es una agrupación de trabajos difíciles pero de mucho espectáculo.
Laura Roulet hizo un gran trabajo curatorial y didáctico y hay que felicitarla. Nos gustaría verla más por la isla...
Quiero compartir estas imágenes para una reseña fallida (todas copyright de Pedro Vélez)como una prueba más en el file de lo que el MAC nunca ha hecho y que otras instituciones si han hecho.
Breve explicativo encontrado en la página de MM Proyectos:
PERFORMANCE EN VIVO
Carolee Schneemann, Marina Abramovic, Papo Colo
May 29-July 19, 2004
“Performance en Vivo” will open at the Museo de Arte de Puerto Rico (MAPR) on Saturday, May 29, 2004. Organized by independent curator Laura Roulet, this exhibit of performance art will feature works by international figures Carolee Schneemann and Marina Abramovic, as well as an original installation created for the museum by Puerto Rican Papo Colo.
Performance as both a historical and living art form will be explored through video documentation of 1960s and ‘70s performances, recreation of Schneemann’s challenging work “Up to and Including Her Limits,” video installations of Abramovic’s charged performances, and a site-specific installation by Papo Colo. All three artists began creating performance art in the 1960s and ‘70s. They continue to be innovators of this conceptual, live art form. Rooted in the cultural upheaval of the 1960s, themes presented include performance as social spectacle, the blurring of the line between life and art, the dematerialization of the art object, the body as expressive vehicle for testing the limits of physical or psychological endurance, perseverance, transformation, racial and sexual identity.
In conjunction with PR ’04, a series of art events being organized around the theme of the Olympics, “Performance en Vivo” will also demonstrate the parallels between art and athletics. With the cooperation of the Puerto Rican National Basketball team, Papo Colo will stage a performance at Central High School, his alma mater. Using basketballs covered with paint in the colors of the political parties, the players will create an impressionistic painting by conducting a practice session on canvas in the school gym. This canvas will be installed at MAPR along with other artifacts of the performance: casts of the players’ arms, photographic portraits, their shoes and clothing. Colo’s entertaining work will show the confluence of art, athletics and politics as spectacle and performance. As seen in the work of contemporary artists like Matthew Barney, Paul Pfeiffer, Tracy Moffat and Catherine Opie, “jock art” is a growing trend. For Puerto Rico, and Caribbean neighbors Cuba and the Dominican Republic, athletes competing on the international stage are a great source of national pride. Colo also sees sports as a means of exploring group identity, body politics, and athletes as icons.
Marina Abramovic (b. 1946, Belgrade, Yugoslavia) Beginning in the 1960s, Abramovic has created installations and performances using her own body, which test her physical and psychological limits. She is also known for a series of works (1975-1988) with partner Ulay. An example is their performance “Relation in Space” at the 1976 Venice Biennale, in which they repeatedly passed each other at higher speeds until their bodies collided. Abramovic’s performance work has continued to evolve since the 1970s. In November 2002, she spent twelve days living and fasting on a public platform in the Sean Kelly Gallery in New York, for which she won a BESSIE dance and performance award. She is currently showing in the Whitney Biennial.
Papo Colo (b. 1947, San Juan, Puerto Rico) Born Francisco Colon Quintero, the artist left Puerto Rico at age eighteen. In 1982, he co-founded the alternative art gallery Exit Art in New York. Since the 1970s he has been known for his subversive performances, installations, “Mystery Theater,” and exhibitions on such themes as the history of performance art and “From the Postcolonial to the Hybrid State.” His best known performance was “Superman” (1977), in which he tied 51 pieces of lumber to his body and ran up the West Side Highway until he collapsed from exhaustion.
Carolee Schneemann (b. 1939, Fox Chase, Pennsylvania) A pioneer of performance and feminist art, Schneemann collaborated with such artists as Robert Morris, Robert Rauschenberg and Yvonne Rainer. Her body art and films of the 60s and 70s were openly celebratory of female sexuality, thus controversial, but have influenced many younger artists such as Cindy Sherman, Janine Antoni and Matthew Barney. In “Up to and Including Her Limits” (1973-76), the artist embodied the gestural physicality of Abstract Expressionism and subconscious direction of Surrealist autonomist drawing by randomly marking the walls around her while suspended nude in a harness. A retrospective of her work was shown at the New Museum of Contemporary Art, New York in 1997. She continues to paint and make installations.
Marc Fisher de Temporary Services y la curadora Laura Roulet