What impact does performance art have on life?

Performance art refers to an art composed of individual or group behavior at a specific time and place. Performance art must contain the following four basic elements, without any other restrictions: time, place, the body of the performance artist, and communication with the audience. This art is different from paintings, sculptures, and other arts that consist of only a single thing. Although in theory performance art can include some relatively more mainstream activities, such as juggling, fire breathing, gymnastics and other acrobatics, as well as drama, dance, music, etc., these are generally classified as performing arts. Performance art usually only refers to a type of avant-garde or conceptual art in the category of visual art. About the origin Performance art is one of the modern art forms that emerged in Europe in the 1950s and 1960s. It means that the artist uses reality itself as a medium for artistic creation and continues it for a certain period of time. The originator of performance art is the famous French artist Yves Klein (1928-1962). In 1961, he opened his arms and fell freely from a tall building, which he called "free fall".

Performance art is actually a type of contemporary experimental art. However, in the past year or two, some visually "stimulating" performance art works have been labeled "morbid" and " After being called "bloody" and "violent", it caused a lot of controversy not only in the "circle" but also in society. In this process, due to the on-site and direct characteristics of "performance art", it is difficult to fully reflect the specific actual situation of a certain work with just a few photos afterwards, so it will inevitably cause other people's understanding of performance art to be unclear. One-sidedness. Performance Art 2

The discussion on "Performance Art" has now aroused certain repercussions in the art world and society. However, the crux of the problem is that in this discussion, some of our mass media, including some professional journals, have not provided an objective, fair and comprehensive introduction to the so-called "performance art", and have only relied on hearsay and generalizations. Such reports have misled the public, including some professionals, about "performance art". If we want to discuss these artistic phenomena objectively and fairly, we must provide industry insiders, including some netizens who are interested in avant-garde art, with a comprehensive understanding of these works as well as commentary articles and knowledge background related to "performance art". This is important for us to be calm and It would be helpful to comment rationally on this phenomenon. Performance art adopts exaggerated expression techniques and uses behavior to express people's views on the world. Some of these behaviors are beautiful and some are ugly, but they are not what people do under normal conditions. Since the emergence of performance art in China, it has always been a focus of debate due to its great contrast with the Chinese people's aesthetics, moral values, and social traditions. In the development of "performance art", some creators have resorted to self-abuse, injury, and blood. Such extreme behaviors as the main way of expression directly challenge the limits of human nature and morality. We list them here in the hope that they can broaden our thinking about art, human life and even life.

Western Marxist critics have discovered a different kind of paradox from the "folk standpoint" of performance art. They believe that performance artists often design the audience and police as dynamic event elements at the same time, trying to find solutions for the country. The identity of the legalization of capital and labor, the liberalization, democratization, and publicization of art respected by performance art and related new arts (process art, landscape art, video art, poor art, etc.). The result became capital's official reform strategy. German art historian Martin Damus pointed out: “Requiring works of art to contribute to the shaping of human life is just like the apparent freedom of art and science being used as a cover for formal democracy. To maintain the rule. Both are used by entrepreneurs, who allow artists to work in their fields." [8] This shows that it is closely related to the "Confucianism and Legalism" pragmatic rationalism that has been running through China since the Han Dynasty ("Chengjiao"). Different from the other, the ultimate trump card of Western contemporary capitalism’s “Everything goes (anything goes)” is: when you exercise any power in the name of art, you don’t have to intervene, but you must ensure that I am involved in your “actions.” Profit.

Typical examples include "100% Pure Artist Shit" (1961) by Italian performance artist Piero Manzonl, which is collected as a top-notch work of art in the Museum of Modern Art in New York. In 1968, the global anti-system movement formed with the May Storm in Paris as its core created its own image mainly in the form of avant-garde art - posters, slogans, and graffiti. Those revolutionary posters designed for freedom became It has become a collection item that collectors are eager to collect and is displayed on the wall of the New York Museum. The more avant-garde posters are, the more they are copied in bulk. For sale cheap. They are no longer free media for free communication, and the impact of revolutionary "action" is neutralized. All the performance art "props" of the German avant-garde artist Joseph Beuys, who were regarded by critics as a "contemporary marriage of Jesus and shaman" during his lifetime, have been collected by the "Beuys Art Memorial Museum" in Dusseldorf . The concepts of "social sculpture" he advocated and practiced, such as green politics, direct suffrage, and university autonomy, are still universal social ideals that have not yet been achieved, but their relics have become cultural codes based on consumerism, and the role of capital in The objectified casting function of the artistic subject can be seen in the above cases. Marx once commented that commodities have absolutely no body. Exists only in a formal act of exchange. Production not only treats people as commodities. Man is produced as a commodity, as a person with the determination of a commodity: according to this determination it produces man as a being that is both spiritually and physically dehumanized. [9] In the time of commodities, "behavior" of alienation or resistance may be fictionalized into the arbitrary and indistinguishable "transcendental value" of commodities, and this kind of licensed art is equal to the greater exchange value of commodities. The equation is constantly filled with symbolic resources necessary for ideological authority.

Chinese performance art is an art form borrowed from the West in the process of Chinese art modernization. From the New Wave Art Period in 1985? (1985-1989) It has already appeared during this period, such as the "Experience of a Scene" by Song Yongping and Song Yonghong brothers, and the "Street Cloth Sculpture" by Ding Yi and others, which generally used bandaging or self-abuse. This method is related to the value orientation of young artists in the 1980s who attempted to obtain spiritual freedom through anti-civilization and anti-art means. It reveals the resistance to the "Cultural Revolution" and spiritual repression, and expresses the artist's desire of the times to seek ideological liberation. Performance Art in the 1990s

Li Wei’s Performance Art (3 photos) Performance art in the 1990s can be roughly divided into two types: one is the behavioral process in which artists participate in social activities, and the other is the artist’s expression of his or her own survival. Behavioral activities related to living conditions The first type is often social behavior that is larger in scale, has a larger number of participants, and involves a wider range of activities. For example, a group of artists came from a big city to a poor mountainous area to create works on the kangs of fellow villagers’ homes. To express the artists' dislike of commercial culture and their desire to return to nature, this whole process is a performance art; a group called the "New History Group" sells homemade "philatelic jeans" and portraits of famous entrepreneurs to illustrate consumption The relationship between contemporary artists and art appreciators; some even hang thousands of red umbrellas on trees in the park, allowing visitors to walk among them, making the audience a part of the performance art. Maybe you have inadvertently engaged in a performance. As for art. However, when this kind of performance art enters daily life, it is often restricted by society, the market, public order and even law, so it is difficult for this kind of performance art to hold large-scale activities at present. , because it is a performance art in which artists express their own living conditions, it has become more and more one of the forms and means that performance artists are keen on. As a result, Zhao Bandi had a dialogue with toy pandas on environmental issues; Shu Yong found someone on Valentine’s Day Flowers and trees fall in love; Wang Jin marries a mule and other bizarre and endless performance art and performance artists. In today's multicultural era, performance art, as a form of art, has naturally entered our lives. However, When artists present life in front of us as art, it is so unexpected that it even goes far beyond our understanding of normal life, violently hitting the limits of our senses and spirit. They use their artistic skills. It asks questions about our lives: Who are we? What are we doing? Where are we going? But at the same time, we also raise huge questions about the bottom line of art.

Looking back at the traditional artists from hundreds of years ago, the great ones who left their names in history often reflect contemporary reality. As an emerging contemporary art form, performance art should shoulder this responsibility. It can laugh and curse, be cynical, and can do a lot. If you do things that are beyond people's expectations, you are not afraid of causing controversy or being banned by the authorities. Art is a very great but very ordinary thing. Looking at today's Chinese performance art, it is generally not ordinary. On the contrary, everyone pretends to be inscrutable. Performance art needs an audience. When the vast majority of the audience is disgusted with it, the art at this time can no longer be called art. Bloody and violent pornography is not the main body of people's aesthetic sentiment. Those who rely too much on exaggerating such a niche group will greatly reduce people's general aesthetic sentiment. It can even be said that even many people who participate in performance art themselves do not agree with it. Through the explanation of the meaning of performance art, we can understand that non-visual aesthetic aesthetics are aesthetics of behavioral meaning. This form is somewhat similar to the meaning of Chinese ink painting, with the emphasis on one word meaning. This meaning must be subordinated to aesthetics. Generally speaking, from the most knowledgeable scholars to the illiterate, there is a universal human aesthetics in their hearts, that is, not ugly or evil. This is human nature, not ugly is beautiful. When people examine the performance art works they see, when the works they see exceed this aesthetic limit, they will feel uncomfortable and disgusted. There are many such works in Chinese contemporary performance art, which is why Chinese contemporary performance art is so criticized. This phenomenon will eventually make performance art difficult for the public to accept, affecting the future of performance art itself.