View source for Performance art

{{Short description|Artwork created through actions of an artist or other participants}}
{{redirect|Live art|the album|Live Art}}
{{Distinguish|Performing arts}}
{{Use mdy dates|date=July 2020}}
[[File:Yves Klein, Le Saut Dans le Vide, 1960.jpg|thumb|Conceptual work by [[Yves Klein]] at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960. ''Le Saut dans le Vide'' (''Leap into the Void'')]]

'''Performance art''' is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a [[fine art]] context in an interdisciplinary mode.<ref name="Tate Modern">{{cite web|title=Performance Art|url=https://www.tate.org.uk/art/art-terms/p/performance-art|publisher=Tate Modern|access-date=May 20, 2020}}</ref> Also known as '''artistic action''', it has been developed through the years as a [[genre]] of its own in which art is presented live. It had an important and fundamental role in 20th century [[avant-garde art]].<ref>{{cite web|title=Performance Art Movement Overview|url=https://www.theartstory.org/movement/performance-art/|publisher=The Art Story|access-date=May 12, 2020}}</ref><ref>{{cite web|title=Media & Performance|url=https://www.moma.org/learn/moma_learning/themes/media-and-performance-art/|publisher=Moma Museo of Modern Art|access-date=May 20, 2020}}</ref>

It involves five basic elements: time, space, body, presence of the artist, and the relation between the artist and the public. The actions, generally developed in art galleries and museums, can take place in any kind of setting or space, and during any time period.<ref>{{Cite web|url=http://www.celarg.org/int/archivos/taylor_estudios_avanzados_de_performance.pdf|title=Estudios avanzados de performance|last=Taylor y Fuentes|first=Diana y Macela|date=2011|publisher=Fondo de Cultura Económica|access-date=February 8, 2019|archive-date=February 14, 2019|archive-url=https://web.archive.org/web/20190214223806/http://www.celarg.org/int/archivos/taylor_estudios_avanzados_de_performance.pdf|url-status=dead}}</ref> Its goal is to generate a reaction, sometimes with the support of improvisation and a sense of aesthetics. The themes are commonly linked to life experiences of the artist themselves, the need for denunciation or social criticism and with a spirit of transformation.<ref name=":01">{{Cite web|url=http://biblioteca.clacso.edu.ar/Argentina/cea-unc/20161202110720/pdf_1328.pdf|title=El concepto de performance según Erving Goffman y Judith Butler|last=Franco Peplo|first=Fernando|date=2014|publisher=Colección Documentos de trabajo. Editorial CEA. Año1. Número 3|access-date=February 8, 2019}}</ref>

The term "performance art" and "performance" became widely used in the 1970s, even though the history of performance in [[visual arts]] dates back to [[futurist]] productions and [[cabarets]] from the 1910s.<ref>{{cite web|title=Etimología de performance|url=http://etimologias.dechile.net/?performance|publisher=Etimologías de Chile|date=2019|access-date=May 20, 2020}}</ref><ref name="Tate Modern" /> Art critic and performance artist [[John Perreault]] credits [[Marjorie Strider]] with the invention of the term in 1969.<ref>{{cite book |last=Perreault |first=John |date=1982 |editor-last=Van Wagner |editor-first=Judith K.|title=Marjorie Strider: 10 Years, 1970-1980 |publisher=Myers Fine Art Gallery |pages=11–15 |chapter=Marjorie Strider: An Overview}}</ref> The main pioneers of performance art include [[Carolee Schneemann]],<ref>{{cite news|last=Carreño Rio|first=Rodrigo|title=Carolee Schneemann, Pionera y Referente|url=https://www.lemiaunoir.com/carolee-schneemann-pionera-y-referente/|access-date=June 8, 2020|work=Le Miau Noir}}</ref> [[Marina Abramović]],<ref>{{cite news|title=Marina Abramovic, pionera del performance|url=http://www.thevault.com.mx/2018/04/04/marina-abramovic-pionera-del-performance/|access-date=June 8, 2020|work=The Vault|date=April 8, 2018}}</ref> [[Ana Mendieta]],<ref>{{cite news|title=Ana Mendieta, la pionera cubana de la performance, está en Madrid|url=https://diariodecuba.com/cultura/1581692712_11023.html|access-date=June 8, 2020|work=Diario de Cuba|date=February 14, 2020}}</ref> [[Chris Burden]],<ref>{{cite news|last=Calvo|first=Irene|title=Chris Burden, el body art y la performance de los 70: referentes actuales|url=http://www.ahmagazine.es/chris-burden/|access-date=June 8, 2020|work=Ah Magazine|date=May 14, 2015}}</ref> [[Hermann Nitsch]], [[Joseph Beuys]], [[Nam June Paik]], [[Tehching Hsieh]], [[Yves Klein]] and [[Vito Acconci]].<ref>{{cite news |last1=Davis |first1=Ben |title=Vito Acconci, Transgressive Progenitor of Performance Art, Dies at 77 |url=https://news.artnet.com/art-world/vito-acconci-dies-77-941138 |access-date=June 30, 2020 |work=London Arte Week |date=April 28, 2017}}</ref> Some of the main exponents more recently are [[Tania Bruguera]],<ref>{{cite news |title=The Top 10 Living Artists of 2015 |url=https://www.artsy.net/article/artsy-editorial-the-top-living-artists |access-date=June 30, 2020 |work=Artsy |date=2015}}</ref> [[Abel Azcona]],<ref>{{cite web |title=Abel Azcona, mejor artista de performance |date=February 22, 2016 |url=https://www.hoyesarte.com/hoy/abel-azcona/ |publisher=Hoyu es arte |access-date=June 30, 2020}}</ref> [[Regina José Galindo]],<ref>{{cite news |last1= Toledo |first1=Manuel |title=Guatemalteca gana Leon de Oro |url=https://news.bbc.co.uk/hi/spanish/misc/newsid_4082000/4082864.stm |access-date=November 28, 2022 |work=BBC Mundo |date=June 10, 2005}}</ref> [[Marta Minujín]],<ref>{{cite news |last1=E. Cué |first1=Carlos |title=Marta Minujín "Desde los años sesenta no se ha hecho nada nuevo en arte" |url=https://elpais.com/cultura/2017/02/16/babelia/1487243204_608976.html |access-date=June 30, 2020 |work=El Pais |date=February 17, 2017}}</ref> [[Melati Suryodarmo]] and [[Petr Pavlensky]]. The discipline is linked to the ''[[happening]]s'' and "events" of the [[Fluxus]] movement, [[Viennese Actionism]], [[body art]] and [[conceptual art]].<ref>Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics. New York and London 2008, Routledge. {{ISBN|978-0415458566}}.</ref>

==Definition==
[[File:Arnold Genthe Nude Dancers-Celluloid Cyanotype.jpg|left|thumb|[[Helen Moller]]<ref name="carnegiehall/Helen-Moller-1918">{{cite book |last1=Moller |first1=Helen |last2=Jacobs |first2=Max |author3=Orchestral Society of New York |author1-link=Helen Moller |author2-link=Max Jacobs |author3-link=Orchestral Society of New York |title=Helen Moller and Her Pupils |date=March 20, 1918 |publisher=[[Carnegie Hall]] Archives |url=https://collections.carnegiehall.org/archive/Complete-program-of-Helen-Moller-and-Her-Pupils--March-20--1918-2RRM1TZL9KAZ.html |quote=Complete program  collections.carnegiehall.org/C.aspx?VP3=pdfviewer&rid=2RRM1TZL9KAZ  collections.carnegiehall.org/a2c80a53-b8fa-4327-b8cf-bbde0cc95651}}</ref><ref name="nytimes/moller-appear">
*{{cite news |title=Helen Moller and Dancers Appear. |url=https://www.nytimes.com/1918/12/27/archives/helen-moller-and-dancers-appear.html |access-date=19 July 2024 |work=[[The New York Times]] |date=27 December 1918}}
*https://timesmachine.nytimes.com/timesmachine/1918/12/27/97056760.html
</ref><ref name="archive/dancinghelenmoll00moll">{{cite book |last1=Moller |first1=Helen |last2=Dunham |first2=Curtis |author1-link=Helen Moller |author2-link=Curtis Dunham |title=Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates; |date=1918 |publisher=[[John Lane Company]] |location=[[New York City|New York]] and [[London]] |url=https://archive.org/details/dancinghelenmoll00moll |access-date=19 July 2024 |via= [[archive.org]]}}</ref><ref name="Musical-Courier-79/Helen-Moller">{{cite magazine |title=Helen Moller |url=https://books.google.com/books?id=E-k6AQAAMAAJ&q=%22Helen+Moller%22 |access-date=19 July 2024 |magazine=[[Musical Courier]] |issue=V79 |publisher=Musical Courier Company |date=1919 |location=<!-- 437 Fifth Avenue, New York, --> New York |language=en}}</ref> dance performance. Photo by [[Arnold Genthe]], early 20th century.]]


The definition and historical and pedagogical contextualization of performance art is controversial. One of the handicaps comes from the term itself, which is polysemic, and one of its meanings relates to the scenic arts. This meaning of "performance" in the scenic-arts context differs radically from the concept of "performance art", since performance art emerged with a critical and antagonistic position towards scenic arts. Performance art only adjoins the scenic arts in certain aspects such as the audience and the present body, and still not every performance-art piece contains these elements.<ref name=":25">{{cite book |last1=Carlson|first1=Marvin|title=Performance: A Critical Introduction |publisher=Routledge |year=1998 |orig-year=1996|location=London and New York|pages= [https://archive.org/details/performancecriti0000carl/page/1, 2, 103–105]|isbn=0-415-13703-9}}</ref>

The meaning of the term "performance art" in the narrower sense is related to [[postmodernist]] traditions in Western culture. From about the mid-1960s into the 1970s, often derived from concepts of visual art, with respect to [[Antonin Artaud]], [[Dada]], the [[Situationist]]s, [[Fluxus]], [[installation art]], and [[conceptual art]], performance art tended to be defined as an [[antithesis]] to theatre, challenging orthodox art-forms and cultural norms. The ideal was an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased.<ref>{{cite book |last=Parr |first=Adrian |author-link=Adrian Parr |chapter=Becoming + Performance Art |editor=Adrian Parr|title=The Deleuze Dictionary|publisher=Edinburgh University Press|year=2005|pages=25, 2 |url=https://books.google.com/books?id=OsVOy4s1QLMC|access-date=October 26, 2010|isbn=0748618996}}</ref> The widely discussed distinction between how visual art and performing art concepts are applied can influence the interpretation of a performance art presentation..<ref name=":25" />

"Performance art" is a term usually reserved to refer to a conceptual art that conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand.

Some types of performance art nevertheless can be close to [[performing arts]]. Such performance may use a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays.

Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements; use robots and machines as performers, as in pieces of the [[Survival Research Laboratories]]; involve ritualised elements (e.g. [[Shaun Caton]]); or borrow elements of any performing arts such as dance, music, and [[circus (performing art)|circus]]. Performance art can also involve intersection with architecture, and may intertwine with [[religious]] practice<ref>
{{cite book
 |last1                = Roussou
 |first1               = Eugenia
 |last2                = Saraiva
 |first2               = Clara
 |last3                = Povedák
 |first3               = István
 |editor-last1         = Roussou
 |editor-first1        = Eugenia
 |editor-last2         = Saraiva
 |editor-first2        = Clara
 |editor-last3         = Povedák
 |editor-first3        = István
 |year                 = 2019
 |title                = Expressions of Religion: Ethnography, Performance and the Senses
 |url                  = https://books.google.com/books?id=4tmRDwAAQBAJ
 |series               = Ethnology of religion, volume 2
 |publication-place    = Vienna
 |publisher            = LIT Verlag
 |pages                = 12–13
 |isbn                 = 9783643911100
 |access-date          = 12 November 2024
 |quote                = [...] a turn to ritual is observed in the early stages of Performance art [...] performance artists use their traumatized body to project their art and the nexus between body, violence and rituals, as a form of contemporary religious expression that transcends sociocultural and religious boundaries.
}} 
</ref><ref>
{{cite book
 |author1              = Karen Gonzalez Rice
 |editor-last1         = Bernier
 |editor-first1        = Ronald R.
 |editor2              = Rachel Hostetter Smith
 |date                 = 11 May 2023
 |chapter              = Revisiting 'Art in the Dark': Thomas McEvilley, Performance Art, and the End(s) of Shamanism
 |title                = Religion and Contemporary Art: A Curious Accord
 |url                  = https://books.google.com/books?id=7Pi0EAAAQBAJ
 |publication-place    = Abingdon
 |publisher            = Routledge
 |page                 = 203
 |isbn                 = 9781000868456
 |access-date          = 12 November 2024
 |quote                = By locating performance art within the shamanistic tradition, McEvilley extended this heroic identity to performance artists. [...] As a form of shamanism, he claimed, performance art demands that we look beyond our knee-jerk reactions to confrontation and taboo [...]. This text was the first serious attempt to address performance art in terms of religion [...]
}} 
</ref>
and with [[theology]].<ref>
{{cite book
 |last1                = Moody
 |first1               = Katharine Sarah
 |date                 = 3 March 2016
 |orig-date            = 2015
 |title                = Radical Theology and Emerging Christianity: Deconstruction, Materialism and Religious Practices
 |url                  = https://books.google.com/books?id=ulGrCwAAQBAJ
 |series               = Intensities: Contemporary Continental Philosophy of Religion
 |edition              = reprint
 |publication-place    = Abingdon
 |publisher            = Routledge
 |isbn                 = 9781317071822
 |access-date          = 12 November 2024
 |quote                = [...] [[Peter Rollins | Ikon]]'s practices [...] were [...] a complex interaction between practice, especially performance art, ritual and liturgy, and theory, including philosophy and theology but also psychoanalysis and Northern Irish politics.
}} 
</ref>

Some artists, e.g. the [[Viennese Actionism|Viennese Actionists]] and [[neo-Dada]]ists, prefer to use the terms "live art", "action art", "actions", "intervention" (see [[art intervention]]) or "manoeuvre" to describe their performing activities. As genres of performance art appear [[body art]], fluxus-performance, [[happening]], [[action poetry]], and [[intermedia]].

==Origins==
[[File:Cabaret Voltaire Veranstaltung.JPG|thumb|Revived [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] on the Spiegelgasse street 1 in [[Zürich]], 2011]]

Performance art is a form of expression that was born as an alternative artistic manifestation. The discipline emerged in 1916 parallel to dadaism, under the umbrella of conceptual art. The movement was led by [[Tristan Tzara]], one of the pioneers of [[Dada]]. Western culture theorists have set the origins of performance art in the beginnings of the 20th century, along with [[Constructivism (art)|constructivism]], [[Futurism]] and Dadaism. Dada was an important inspiration because of their poetry actions, which drifted apart from conventionalisms, and futurist artists, specially some members of [[Russian futurism]], could also be identified as part of the starting process of performance art.<ref>{{cite web|title=Performanceras y dadaístas|url=https://conlaa.com/performanceras-dadaistas/|publisher=Con la a|date=2020|access-date=May 23, 2020}}</ref><ref>{{cite news|last1=Rojas|first1=Diego|title=La performance, esa forma radical y perturbadora del arte contemporáneo|url=https://www.infobae.com/cultura/2017/05/20/la-performance-esa-forma-radical-y-perturbadora-del-arte-contemporaneo/|access-date=May 23, 2020|work=Infobae|date=May 20, 2017}}</ref>

[[File:Placa en Cabaret Voltaire retouched.jpg|left|thumb|Original plaque of the [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] in Zürich]]
[[File:Marcel Słodki Cabaret-Voltaire-poster 1916.jpg|thumb|Original poster of the first function of the Cabaret Voltaire, by [[Marcel Słodki]] (1916)]]

===Cabaret Voltaire===
{{main|Cabaret Voltaire (Zürich)}}

The [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] was founded in [[Zürich]], Switzerland by the couple [[Hugo Ball]] and [[Emmy Hennings]] for artistic and political purposes, and was a place where new tendencies were explored. Located on the upper floor of a theater, whose exhibitions they mocked in their shows, the works interpreted in the cabaret were avant garde and experimental. It is thought that the Dada movement was founded in the ten-meter-square locale.<ref>{{cite web|last=Sooke|first=Alastair|title=Cabaret Voltaire: A night out at history's wildest nightclub|website=BBC Culture|date=20 July 2016|url=https://www.bbc.com/culture/article/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub}}</ref><ref>{{cite news| title=Cabaret Voltaire|newspaper=Suiza Turismo|url=https://www.myswitzerland.com/es/descubrir-suiza/cabaret-voltaire/|language=es|access-date=16 November 2022 |last1=Tourismus |first1=Schweiz }}</ref> Moreover, Surrealists, whose movement descended directly from Dadaism, used to meet in the Cabaret. On its brief existence—barely six months, closing the summer of 1916—the Dadaist Manifesto was read and it held the first Dada actions, performances, and hybrid poetry, plastic art, music and repetitive action presentations. Founders such as [[Richard Huelsenbeck]], [[Marcel Janco]], [[Tristan Tzara]], [[Sophie Taeuber-Arp]] and [[Jean Arp]] participated in provocative and scandalous events that were fundamental and the basis of the foundation for the anarchist movement called Dada.<ref>{{Cite web|url=http://www.bbc.com/culture/story/20160719-cabaret-voltaire-a-night-out-at-historys-wildest-nightclub|title=Cabaret Voltaire: A night out at history's wildest nightclub|access-date=March 4, 2018|last=Sooke|first=Alastair}}</ref>

[[File:Grand opening of the first Dada exhibition, Berlin, 5 June 1920.jpg|left|thumb|Grand opening of the first Dada exhibition: International Dada Fair, Berlin, June 5, 1920. From left to right: [[Raoul Hausmann]], [[Hannah Höch]] (sitting), Otto Burchard, [[Johannes Baader]], [[Wieland Herzfelde]], Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), [[George Grosz]] and [[John Heartfield]].<ref>[https://www.moma.org/learn/moma_learning/themes/dada ''World War I and Dada''], Museum of Modern Art (MoMA).</ref>]]

Dadaism was born with the intention of destroying any system or established norm in the art world.<ref name=":2" /> It is an anti-art movement, anti-literary and anti-poetry, that questioned the existence of art, literature and poetry itself. Not only was it a way of creating, but of living; it created a whole new ideology.<ref name="ref_duplicada_2" /> It was against eternal beauty, the eternity of principles, the laws of logic, the immobility of thought and clearly against anything universal. It promoted change, spontaneity, immediacy, contradiction, randomness and the defense of chaos against the order and imperfection against perfection, ideas similar to those of performance art. They stood for provocation, anti-art protest and scandal, through ways of expression many times satirical and ironic. The absurd or lack of value and the chaos protagonized{{clarify|date=October 2020}} their breaking actions with traditional artistic form.<ref name=":2">{{cite news|last1=Lomelí|first1=Natalia|title=Cabaret Voltaire: El inicio del dadaísmo|url=https://culturacolectiva.com/arte/cabaret-voltaire-inicio-del-dadaismo|access-date=May 23, 2020|work=Cultura Colectiva|date=December 23, 2015}}</ref><ref name="ref_duplicada_2">De Micheli, Mario: ''Le Avanguardie artistiche del Novecento'', 1959.</ref><ref>Albright, Daniel: ''Modernism and music: an anthology of sources''. [[University of Chicago Press]], 2004. {{ISBN|0-226-01266-2}}.</ref><ref>Elger, Dietmar: ''Dadaísmo''. [[Alemania]]: [[Taschen]], 2004. {{ISBN|3-8228-2946-3}}.</ref>

Cabaret Voltaire closed in 1916, but was revived in the 21st century.

[[File:Poshechina_obshestvennomu_vkusu.jpg|left|thumb|Left to right, futurists Benedikt Lifshits, Nikolái Burluik, Vladímir Mayakovski, [[David Burliuk]] and Alekséi Kruchónyj. Between 1912 and 1913.|alt=]]
[[File:Bauhaus-Dessau main building.jpg|thumb|[[Bauhaus]] [[Dessau]] building, 2005]]

===Futurism===
{{main|Futurism}}

[[Futurism]] was an artistic [[avant garde]] movement that appeared in 1909. It first started as a literary movement, even though most of the participants were painters. In the beginning it also included sculpture, photography, music and cinema. The First World War put an end to the movement, even though in Italy it went on until the 1930s. One of the countries where it had the most impact was Russia.<ref name=":4" /> In 1912 manifestos such as the ''Futurist Sculpture Manifesto'' and the ''Futurist Architecture'' arose, and in 1913 the ''Manifesto of Futurist Lust'' by [[Valentine de Saint-Point]], dancer, writer and French artist. The futurists spread their theories through encounters, meetings and conferences in public spaces, that got close to the idea of a political concentration, with poetry and music-halls, which anticipated performance art.<ref name=":4">{{cite web|title=El Futurismo|url=http://www.ccapitalia.net/?p=1574|publisher=CCapitalia|date=July 14, 2005|access-date=June 5, 2020}}</ref><ref name=lex>{{cite book|last1=Lajo Pérez|first1=Rosina|title=Léxico de arte|date=1990|publisher=Akal|location=Madrid – España|isbn=978-84-460-0924-5|page=87}}</ref><ref>{{cite news|last1=Bróccoli|first1=Betina|title=El futurismo: a cien años de la estética de la velocidad|url=http://argentinainvestiga.edu.ar/noticia.php?titulo=el_futurismo_a_cien_anos_de_la_estetica_de_la_velocidad&id=676|access-date=June 5, 2020|work=Argentina Investiga|date=June 29, 2009}}</ref>

===Bauhaus===
{{main|Bauhaus}}
The [[Bauhaus]], an art school founded in Weimar in 1919, included an experimental performing arts workshops with the goal of exploring the relationship between the body, space, sound and light. The [[Black Mountain College]], founded in the United States by instructors of the original Bauhaus who were exiled by the Nazi Party, continued incorporating experimental performing arts in the scenic arts training twenty years before the events related to the history of performance in the 1960s.<ref>Essers, V., "La modernidad clásica. La pintura durante la primera mitad del siglo XX", en ''Los maestros de la pintura occidental'', volumen II, Taschen, 2005. {{ISBN|3-8228-4744-5}}, pág. 555</ref> The name Bauhaus derives from the German words Bau, ''construction'' and Haus, ''house''; ironically, despite its name and the fact that his founder was an architect, the Bauhaus did not have an architecture department the first years of its existence.<ref>{{cite news|last1=Esaak|first1=Shelley|title=Performance Art 1960s-Present|url=https://www.thoughtco.com/performance-art-history-basics-182390|access-date=June 7, 2020|work=Thought CO|date=July 3, 2019}}</ref><ref>{{Cite web|url=http://www.elmundo.es/1997/09/01/cultura/01N0054.html|title=Unesco declara la Bauhaus Patrimonio de la Humanidad|last=Casadeval|first=Gema|date=September 1, 1997|publisher=El Mundo|access-date=June 7, 2020}}</ref>

===Action painting===
{{main|Action Painting}}
In the 1940s and 1950s, the action painting technique or movement gave artists the possibility of interpreting the canvas as an area to act in, rendering the paintings as traces of the artist's performance in the studio <ref name="cork" /> According to art critic [[Harold Rosenberg]], it was one of the initiating processes of performance art, along with abstract expressionism. [[Jackson Pollock]] is the action painter par excellence, who carried out many of his actions live.<ref>{{cite news|title=Jackson Pollock, el artista de acción|url=https://totenart.com/noticias/jackson-pollock-accion/|access-date=May 20, 2020|work=Totenart|date=2019}}</ref> In Europe [[Yves Klein]] did his Anthropométries using (female) bodies to paint canvasses as a public action.  Names to be highlighted are [[Willem de Kooning]] and [[Franz Kline]], whose work include abstract and action painting.<ref name=cork>{{Cite web|url=http://www.visual-arts-cork.com/history-of-art/action-painting.htm|title=Action Painting Technique: Definition, Characteristics |access-date=May 26, 2020}}</ref><ref>{{cite web|url=http://www.poetrymagazines.org.uk/magazine/record.aspid=9798|title=''The American Action Painters''|last1=Rosenberg|first1=Harold|access-date=May 26, 2020}}</ref><ref name=artsy>{{Cite web|url=https://www.artsy.net/gene/action-painting|title=Action Painting Artsy|access-date=May 26, 2020}}</ref>

===Nouveau réalisme===
{{main|Nouveau réalisme}}
[[Nouveau réalisme]] is another one of the artistic movements cited in the beginnings of performance art. It was a painting movement founded in 1960 by art critic [[Pierre Restany]] and painter [[Yves Klein]], during the first collective exhibition in the Apollinaire Gallery in Milan. Nouveau réalisme was, along with Fluxus and other groups, one of the many avant garde tendencies of the 1960s. [[Pierre Restany]] created various performance art assemblies in the [[Tate Modern]], amongst other spaces.<ref>{{cite web|title=Pierre Restany, 'Modern Magic at the Tate', Studio International, June 1968|url=https://www.tate.org.uk/research/publications/performance-at-tate/resources/reviews-and-articles/stuart-brisley-pierre-restany-studio-international|work=Tate Modern|date=June 1968|access-date=May 20, 2020}}</ref> Yves Klein is one of the main exponents of the movement. He was a clear pioneer of performance art, with his conceptual pieces like ''[[Zone de Sensibilité Picturale Immatérielle]]'' (1959–62), ''Anthropométries'' (1960), and the photomontage ''Saut dans le vide''.<ref>Hannah Weitemeier ([[Hannah Weitemeier|de]]), ''Yves Klein, 1928–1962: Internacional Klein Blue'' (Cologne, Lisbon, Paris: Taschen, 2001), 8. {{ISBN|3-8228-5842-0}}.</ref><ref>Gilbert Perlein & Bruno Corà (eds) & al., ''Yves Klein: Long Live the Immaterial!'' ("An anthological retrospective", catalog of an exhibition held in 2000), New York: Delano Greenidge, 2000, {{ISBN|978-0-929445-08-3}}, p. 226</ref> All his works have a connection with performance art, as they are created as a live action, like his best-known artworks of paintings created with the bodies of women. The members of the group saw the world as an image, from which they took parts and incorporated them into their work; they sought to bring life and art closer together.<ref>{{cite news|last1=Oybin|first1=Marina|title=La revolución del color: tras las huellas de Yves Klein|url=https://www.lanacion.com.ar/opinion/la-revolucion-del-color-tras-las-huellas-de-yves-klein-nid1866164|access-date=May 20, 2020|work=La Nación|date=January 31, 2016}}</ref><ref>{{cite web|title=Un salto al vacío. Yves Klein y el nuevo arte del Siglo XX|url=https://www.flacso.org.ar/formacion-academica/yves-klein-y-el-nuevo-arte-del-siglo-xx/|publisher=Facultad Latinoamericana de Ciencias Sociales|access-date=May 20, 2020}}</ref><ref>{{cite news|last1=Selfridges|first1=Camilla|title=Movimientos Del Arte (Tras Yves Klein)|url=https://crisolhoy.com/2017/10/23/movimientos-del-arte-tras-yves-klein/|archive-url=https://web.archive.org/web/20200615005510/https://crisolhoy.com/2017/10/23/movimientos-del-arte-tras-yves-klein/|url-status=usurped|archive-date=June 15, 2020|work=Crisol Hoy|date=October 23, 2017|access-date=May 20, 2020}}</ref>

===Gutai===
{{main|Gutai}}
One of the other movements that anticipated performance art was the Japanese movement [[Gutai]], who made action art or [[happening]]. It emerged in 1955 in the region of [[Kansai]] ([[Kioto|Kyōto]], [[Osaka|Ōsaka]], [[Kōbe]]). The main participants were [[Jirō Yoshihara]], Sadamasa Motonaga, Shozo Shimamoto, Saburō Murakami, Katsuō Shiraga, Seichi Sato, Akira Ganayama and Atsuko Tanaka.<ref name=":5" /> The Gutai group arose after World War II. They rejected capitalist consumerism, carrying out ironic actions with latent aggressiveness (object breaking, actions with smoke). They influenced groups such as Fluxus and artists like [[Joseph Beuys]] and [[Wolf Vostell]].<ref name=":5">{{cite web|url=http://nymag.com/nymetro/arts/art/reviews/9937/|title=Everything Is Illuminated|website=NYMag.com|date=September 23, 2004 }}</ref><ref>{{cite book|last= Barnes|first=Rachel|title=The 20th-Century art book.|year=2001|publisher=Phaidon Press|location=London|isbn=0714835420|edition= Reprinted.}}</ref><ref>{{cite news|title=A Visual Essay on Gutai|journal=Flash Art|date=2012|publisher=Flash Art International|page=111|issue=287|volume=45|issn=0394-1493}}</ref>

=== Land art and performance ===
{{Main|Land art}}
In the late 1960s, diverse [[land art]] artists such as [[Robert Smithson]] or [[Dennis Oppenheim]] created environmental pieces that preceded performance art in the 1970s. Works by conceptual artists from the early 1980s, such as [[Sol LeWitt]], who made mural drawing into a performance act, were influenced by [[Yves Klein]] and other land art artists.<ref>{{cite news|last1=López|first1=Ianko|title=Land Art: el arte de los misterios de la tierra|url=https://www.revistaad.es/arte/articulos/land-art-vueleve/19545|access-date=May 22, 2020|work=AD Magazine|date=November 3, 2017}}</ref><ref>{{Cite web|url=http://www.elcultural.com/revista/arte/Earth-Art-o-la-naturaleza-en-el-museo/26162|title=Earth Art o la naturaleza en el museo|access-date=June 5, 2020|website=www.elcultural.com|date=November 13, 2009}}</ref><ref>{{Cite web|url=http://www.nga.gov/content/ngaweb/exhibitions/2016/from-los-angeles-to-new-york-dwan-gallery.html|title=Los Angeles to New York: Dwan Gallery, 1959–1971|access-date=June 5, 2020|author=National Gallery of Art|archive-date=August 7, 2017|archive-url=https://web.archive.org/web/20170807194358/https://www.nga.gov/content/ngaweb/exhibitions/2016/from-los-angeles-to-new-york-dwan-gallery.html|url-status=dead}}</ref> Land art is a [[contemporary art]] movement in which the landscape and the artwork are deeply bound. It uses nature as a material (wood, soil, rocks, sand, wind, fire, water, etc.) to intervene on itself. The artwork is generated with the place itself as a starting point. The result is sometimes a junction between sculpture and architecture, and sometimes a junction between sculpture and landscaping that is increasingly taking a more determinant role in contemporary public spaces. When incorporating the artist's body in the creative process, it acquires similarities with the beginnings of performance art.

<gallery widths="200" heights="200">
File:Valentine de Saint-Point 1914 (2).jpg|Portrait of [[Valentine de Saint-Point]] in the space of creation
File:1916 Olga Rozanova oblozhka Zaumnaya kniga.jpg|Intervened cover by Russian Futurist Olga Rozanova (1912)
File:Willem de Kooning in his studio.jpg|Portrait of [[Willem de Kooning]], [[action painting]] painter in his studio
File:Gutai_Venice1.jpg|Installation by Gutai Group, in the 2009 [[Venice Biennial]]
File:Blickachsen-7--23-dennis-oppenheim-hg-004.jpg|Installation by [[Dennis Oppenheim]] in Hesse, Germany
File:Spiral Jetty Smithson Laramee.jpg|[[Land art]] work by [[Robert Smithson]]
File:Restany-Brajo-Verdet1972web.jpg|Portrait of [[Pierre Restany]] in one of his openings
File:Klein Beaubourg 2007.jpg|Freeing of 1001 blue balloons, "sculpture aérostatique" by [[Yves Klein]]
</gallery>

==1960s==
[[File:Warhol's_Exploding_Plastic_Inevitable_with_Nico.png|thumb|''Exploding Plastic Inevitable'' by Ann Arbor]]

In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those originary from [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]] or [[Futurism]], a variety of new works, concepts and a growing number of artists led to new kinds of performance art. Movements clearly differentiated from [[Viennese Actionism]], [[avant garde]] performance art in New York City, [[process art]], the evolution of [[The Living Theatre]] or [[happening]], but most of all the consolidation of the pioneers of performance art.<ref>{{cite web|title=La evolución de la performance desde los 60/70|url=https://diarium.usal.es/mcusa/2011/05/04/la-evolucion-de-la-performance-desde-los-6070/|publisher=Universidad de Salamanca|date=May 4, 2011|access-date=June 5, 2020}}</ref>

[[File:Weltverwandlung.jpg|left|thumb|Pioneers of [[Viennese Actionism]] during an exhibition in the [[Hermann Nitsch]] foundation]]

=== Viennese actionism ===
{{Main|Viennese Actionism}}
The term [[Viennese Actionism]] (''Wiener Aktionismus'') comprehends a brief and controversial art movement of the 20th century, which is remembered for the violence, grotesque and visual of their artworks.<ref>{{cite news|last=Lapidario|first=Josep|title=Pintura, sangre, sexo y muerte: en las tripas del accionismo vienés|url=https://www.jotdown.es/2016/01/pintura-sangre-sexo-y-muerte-en-las-tripas-del-accionismo-vienes/|access-date=May 27, 2020|work=JotDown}}</ref> It is located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are [[Günter Brus]], [[Otto Muehl]] and [[Hermann Nitsch]], who developed most of their actionist activities between 1960 and 1971. Hermann, pioneer of performance art, presented in 1962 his ''Theatre of Orgies and Mysteries'' (Orgien und Mysterien Theater).<ref>{{cite web|title=Accionismo Vienés|url=http://www.caac.es/prensa/dossiers/not_accionism.pdf|publisher=Centro Andaluz de Arte Contemporáneo|access-date=May 27, 2020}}</ref><ref>{{cite news|title=Accionismo vienés o el lenguaje brutal del cuerpo|url=https://medium.com/fuga-incendios/accionismo-vienés-o-el-lenguaje-brutal-del-cuerpo-c631e2e52656|access-date=June 5, 2020|work=Medium|date=July 18, 2016}}</ref><ref>{{cite web|last=Ramis|first=Mariano|title=Accionismo Vienés|url=https://proyectoidis.org/accionismo-vienes/|publisher=IDIS|date=April 21, 1965|access-date=June 5, 2020}}</ref> [[Marina Abramović]] participated as a performer in one of his performances in 1975.

=== New York and avant-garde performance ===
[[File:Photos from The Velvet Underground Era (Andy Warhol's Factory) (3223536662).jpg|left|thumb|Photography exhibition in [[The Velvet Underground]] and [[Andy Warhol]] Factory]]
In the early 1960s, New York City harbored many movements, events and interests regarding performance art. Amongst others, [[Andy Warhol]] began creating films and videos,<ref>{{cite web|url=http://www.warholstars.org/andy_warhol_films.html|title=Andy Warhol Films|website=www.warholstars.org}}</ref> and mid decade he sponsored [[The Velvet Underground]] and staged events and performative actions in New York, such as the [[Exploding Plastic Inevitable]] (1966), that included live rock music, explosive lights and films.<ref name="Aspen">{{Cite web|title=From the research laboratories of Andy Warhol comes this issue of Aspen Magazine|date=April 1967|url=http://www.ubu.com/aspen/advertisements/aspen3Ad.html|publisher=Evergreen Review|volume=11|number=46}}</ref><ref name="BWJ">{{Cite journal|author-link=Branden W. Joseph|date=Summer 2002|title='My Mind Split Open': Andy Warhol's Exploding Plastic Inevitable|journal=Grey Room|volume=8|pages=80–107|doi=10.1162/15263810260201616|last1=Joseph|first1=Branden W.|s2cid=57560227}}</ref><ref name="blaetz">{{Cite book|last1=Osterweil|first1=Ara|last2=Blaetz|first2=Robin|title=Women's Experimental Cinema: Critical Frameworks|date=2007|publisher=[[Duke University Press]]|isbn=9780822340447|page=143}}</ref><ref name="MT">{{Cite book|last1=Martin Torgoff|first1=Martin|title=Can't Find My Way Home: America in the Great Stoned Age, 1945-2000|publisher=Simon & Schuster|location=Nueva York|date=2004|page=156|url=https://books.google.com/books?id=PpqQTLE_qBEC&q=can%27t+find+my+way+home|isbn=0-7432-3010-8}}</ref> Among New York’s avant-garde performance artists, [[Joey Skaggs]] emerged in the 1960s with provocative public interventions that satirized institutional power and media spectacle. His early works include ''The Crucifixion'' (1966–1969), a life-size sculpture of a decaying [[Jesus|Christ]] exhibited in public parks to protest religious hypocrisy, and the ''Hippie Bus Tour to Queens'' (1968), in which [[East Village, Manhattan|East Village]] artists parodied voyeuristic tour buses by visiting suburban neighborhoods.<ref>{{Cite journal |last=Harold |first=Christine |date=2004-09-01 |title=Pranking rhetoric: "culture jamming" as media activism |url=https://www.tandfonline.com/doi/abs/10.1080/0739318042000212693 |journal=Critical Studies in Media Communication |volume=21 |issue=3 |pages=189–211 |doi=10.1080/0739318042000212693 |issn=1529-5036|url-access=subscription }}</ref>

=== The Living Theatre ===
{{Main|The Living Theatre}}
[[File:The Living Theatre - The Brig, 1. May 2008.jpg|thumb|The Living Theatre presenting their work ''The Brig'' in Myfest 2008 in Berlin-Kreuzberg]]

Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre is a theater company created in 1947 in New York. It is the oldest [[experimental theatre]] in the United States.<ref>Beck, J., ''El Living Theatre'', Madrid, Fundamentos, 1974, pag. 255</ref> Throughout its history it has been led by its founders: actress [[Judith Malina]], who had studied theatre with [[Erwin Piscator]], with whom she studied [[Bertolt Brecht]]'s and [[Meyerhold]]'s theory; and painter and poet [[Julian Beck]]. After Beck's death in 1985, company member Hanon Reznikov became co-director along with Malina. 

Because it is one of the oldest random theatre or live theatre groups nowadays, it is looked upon by the rest.{{clarify|date=October 2020}} They understood theatre as a way of life, and the actors lived in a community under libertary{{clarify|date=October 2020}} principles. It was a theatre campaign dedicated to transformation of the power organization of an authoritarian society and hierarchical structure. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, ''Paradise Now'', was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing.<ref>Beck, J., ''El Living Theatre'', Madrid, Fundamentos, 1974, pag.102</ref>

[[File:Fluxus manifesto.jpg|left|thumb|Fluxus manifesto]]

===Fluxus===
{{Main|Fluxus}}
[[File:Componist John Cage , kop, Bestanddeelnr 934-3585.jpg|thumb|Portrait of [[John Cage]], 1988]]

[[Fluxus]], a Latin word that means ''flow'', is a visual arts movement related to music, literature, and dance. Its most active moment was in the 1960s and 1970s. They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement. Fluxus was informally organized in 1962 by [[George Maciunas]] (1931–1978). This movement had representation in Europe, the United States and Japan.<ref>Simposio ''Happening, Fluxus y otros comportamientos artísticos de la segunda mitad del siglo XX''. Cáceres, 1999, Editorial Regional de Extremadura, {{ISBN|84-7671-607-9}}.</ref> The Fluxus movement, mostly developed in North America and Europe under the stimulus of [[John Cage]], did not see the avant-garde as a linguistic renovation, but it sought to make a different use of the main art channels that separate themselves from specific language; it tries to be interdisciplinary and to adopt mediums and materials from different fields. Language is not the goal, but the mean for a renovation of art, seen as a global art.<ref>''Fluxus at 50''. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, {{ISBN|978-3-86678-700-1}}.</ref> As well as [[Dada]], Fluxus escaped any attempt for a definition or categorization. As one of the movement's founders, [[Dick Higgins]], stated:

<blockquote>Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning.<ref>[https://www.youtube.com/watch?v=9feLztCuQ18 Dick Higgins on Fluxus], interviewed 1986.</ref><ref>Amongst the earliest pieces that would later be published by Fluxus were Brecht's event scores, the earliest of which dated from around 1958/9, and works such as Valoche, which had originally been exhibited in Brecht's solo show 'Toward's Events' at 1959.</ref></blockquote>

[[Robert Filliou]] places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to everyday life, and turns around Duchamp's proposal, who starting from [[Found object|Ready-made]], introduced the daily into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances.<ref>{{cite web|title=Fluxus|url=https://masdearte.com/movimientos/fluxus/|publisher=Masdearte.com|access-date=June 8, 2020}}</ref>

[[John Cage]] was an American composer, [[Music theory|music theorist]], artist, and philosopher. A pioneer of [[Indeterminacy (music)|indeterminacy in music]], [[electroacoustic music]], and [[Extended technique|non-standard use of musical instruments]], Cage was one of the leading figures of the post-war [[avant-garde]]. Critics have lauded him as one of the most influential composers of the 20th century.{{sfn|Pritchett|Kuhn|Garrett|2012|p= "He has had a greater impact on music in the 20th century than any other American composer."}}<ref name=obit>{{Cite news|title=John Cage, 79, a Minimalist Enchanted With Sound, Dies|first=Allan|last=Kozinn|author-link=Allan Kozinn|url=https://www.nytimes.com/learning/general/onthisday/bday/0905.html|quote=John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent's Hospital in Manhattan. He was 79 years old and lived in Manhattan.|work=The New York Times|date=August 13, 1992|access-date=July 21, 2007}}</ref><ref>{{Cite book|title=Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage |last=Leonard |first=George J. |year=1995 |publisher=University of Chicago Press |isbn=978-0-226-47253-9 |page=120 ("... when Harvard University Press called him, in a 1990 book advertisement, "without a doubt the most influential composer of the last half-century," amazingly, that was too modest.")}}</ref><ref>{{Cite book|title=Greene's Biographical Encyclopedia of Composers |last=Greene |first=David Mason |year=2007 |publisher=Reproducing Piano Roll Fnd. |isbn=978-0-385-14278-6 |page=1407 ("... John Cage is probably the most influential... of all American composers to date.")}}</ref> He was also instrumental in the development of [[modern dance]], mostly through his association with choreographer [[Merce Cunningham]], who was also Cage's romantic partner for most of their lives.<ref>Perloff, Junkerman, 1994, 93.</ref><ref>Bernstein, Hatch, 2001, 43–45.</ref>

Cage's friend [[Sari Dienes]] can be seen as an important link between the [[Abstract Expressionists]], Neo-[[Dada]] artists like [[Robert Rauschenberg]] and [[Ray Johnson]], and Fluxus. Dienes inspired all these artists to blur the lines between life, Zen, performative art-making techniques and "events," in both pre-meditated and spontaneous ways.<ref>{{Cite news|url=https://whitehotmagazine.com/articles/museum-show-for-sari-dienes/5895|title=A New Book and a Museum Show for Sari Dienes|work=[[Whitehot Magazine]]|last=Bloch|first=Mark|author-link=Mark Bloch (artist)|date=July 2023|access-date=8 September 2023}}</ref>

=== Process art ===
{{Main|Process Art}}
[[Process art]] is an [[artistic movement]] where the end product of ''art'' and ''craft'', the ''[[:wikt:objet d’art|objet d’art]]'' ([[work of art]]/[[found object]]), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as pure human expression. Process art defends the idea that the process of creating the work of art can be an art piece itself. Artist [[Robert Morris (artist)|Robert Morris]] predicated "anti-form", ''process'' and ''time '' over an objectual finished product.<ref>{{cite web|last1=Gottlieb|first1=Baruch|title=Los signos vitales del arte procesual|url=http://www.laboralcentrodearte.org/es/recursos/articulos/es-arte-procesual-el-nuevo-cine|publisher=Laboral Centro de Arte|date=2010|access-date=May 17, 2020|archive-date=April 28, 2023|archive-url=https://web.archive.org/web/20230428054801/http://www.laboralcentrodearte.org/es/recursos/articulos/es-arte-procesual-el-nuevo-cine|url-status=dead}}</ref><ref>{{cite web|title=Process Art|url=https://www.tate.org.uk/art/art-terms/p/process-art|publisher=Tate Modern|access-date=June 10, 2020}}</ref><ref>{{cite web|title=Process Art|url=https://www.guggenheim.org/artwork/movement/process-art|publisher=Guggenheim|access-date=June 10, 2020}}</ref>

[[File:1972, Umberto Mariani, Joseph Beuys, Jean Pierre Van Tieghem, Documenta 5, Kassel.jpg|thumb|Joseph Beuys in a Documenta Kassel event]]

=== Happening ===
{{Main|Happening}}
[[Noah Wardrip-Fruin|Wardrip-Fruin]] and [[Nick Montfort|Montfort]] in ''The New Media Reader'', "The term 'Happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."<ref>Noah Wardrip-Fruin and Nick Montfort, eds., ''The New Media Reader'' (Cambridge: The MIT Press, 2003): p.&nbsp;83. {{ISBN|0-262-23227-8}}.</ref> A ''happening'' allows the artist to experiment with the movement of the body, recorded sounds, written and talked texts, and even smells. One of Kaprow's first works was ''Happenings in the New York Scene'', written in 1961.<ref>Montfort, Nick, and Noah Wardrip-Fruin. ''The New Media Reader.'' Cambridge, Massachusetts [u.a.: MIT, 2003]. Print.</ref> Allan Kaprow's happenings turned the public into interpreters. Often the spectators became an active part of the act without realizing it. Other actors who created ''happenings'' were [[Jim Dine]], [[Al Hansen]], [[Claes Oldenburg]], ''Robert Whitman'' and [[Wolf Vostell]]: ''Theater is in the Street'' (Paris, 1958).<ref>[[#Pavis|Patrice Pavis]], "Diccionario del teatro", p. 232</ref><ref>{{cite web|last1=Profesorado|title=El arte de la acción: happening, performance y fluxus|url=https://previa.uclm.es/profesorado/irodrigo/Esquema%20arte%20acción..pdf|publisher=Universidad de Castilla La mancha|access-date=November 7, 2021|archive-date=March 8, 2021|archive-url=https://web.archive.org/web/20210308041814/https://previa.uclm.es/profesorado/irodrigo/Esquema%20arte%20acci%C3%B3n..pdf|url-status=dead}}</ref>

=== Main artists ===
[[File:Warhol and Beuys by Jodice.tif|left|thumb|Portrait of [[Joseph Beuys]] and [[Andy Warhol]] in [[Naples]]]]

The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. [[Barbara Smith|Barbara T. Smith]] with ''Ritual Meal'' (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, [[Carolee Schneemann]] and [[Joan Jonas]]. These, along with [[Yoko Ono]], [[Joseph Beuys]], [[Nam June Paik]], [[Wolf Vostell]], [[Allan Kaprow]], [[Vito Acconci]], [[Chris Burden]] and [[Dennis Oppenheim]] were pioneers in the relationship between body art and performance art, as well as the [[Zaj]] collective in Spain with [[Esther Ferrer]] and [[Juan Hidalgo Codorniu|Juan Hidalgo]].

[[Image:Schneemann-Interior Scroll.gif|thumb|[[Carolee Schneemann]], performing her piece ''Interior Scroll.'' [[Yves Klein]] in France, and [[Carolee Schneemann]], [[Yayoi Kusama]], [[Charlotte Moorman]], and [[Yoko Ono]] in New York City were pioneers of performance based works of art, that often entailed nudity.]]

[[Barbara Smith]] is an artist and United States activist. She is one of the main African-American exponents of [[feminism]] and [[LGBT]] activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current.<ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 5–6.</ref> She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and [[literary criticism]] have appeared in a range of publications, including ''[[The New York Times]]'', ''[[The Guardian]]'', ''[[The Village Voice]]'' and ''[[The Nation]]''.<ref name="Ross interview">Smith, Barbara, interview by Loretta Ross, transcript of video recording, May 7, 2003, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], Sophia Smith Collection, p. 2.</ref><ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 3–4.</ref><ref>Smith, Barbara. ''Home Girls: A Black Feminist Anthology'', Kitchen Table: Women of Color Press, 1983, {{ISBN|0-913175-02-1}}, p. xx, Introduction</ref>

[[Carolee Schneemann]]<ref>{{Cite web|url=https://www.artlyst.com/news/carolee-schneemann-pioneering-feminist-artist-dies-age-79/|title=Carolee Schneemann Pioneering Feminist Artist Dies Age 79}}</ref> was an American [[visual artist|visual experimental artist]], known for her multi-media works on the body, narrative, [[human sexuality|sexuality]] and [[gender]].<ref>{{cite news|title=Carolee Schneeman on Feminism, Activism and Ageing|url=http://www.anothermag.com/art-photography/8462/carolee-schneemann-on-feminism-activism-and-ageing|access-date=March 19, 2016|publisher=AnOther magazine}}</ref> She created pieces such as ''[[Meat Joy]]'' (1964) and ''Interior Scroll'' (1975).<ref name="performa07">{{cite web |url=http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |work=[[Time Out New York]] |title=Carolee Schneemann: "Remains to Be Seen: New and Restored Films and Videos" |date=October 25, 2007 |access-date=June 10, 2020 |archive-date=January 5, 2013 |archive-url=https://archive.today/20130105010205/http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |url-status=dead }}</ref> Schneemann considered her body a surface for work.<ref name="stiles-3">{{cite book|title =Imaging Her Erotics: Essays, Interviews, Projects|last=Stiles|first=Kristine|year=2003|publisher=[[MIT Press]]|location=[[Cambridge, Massachusetts]] |isbn=026269297X|chapter=The Painter as an Instrument of Real Time|page=3}}</ref> She described herself as a "painter who has left the canvas to activate the real space and the lived time."<ref>[http://gregcookland.com/journal/2007_10_28_archive.html Carolee Schneemann Speaks], ''New England Journal of Aesthetic Research''. Posted 11 de octubre de 2007.{{Self-published source|date=December 2020}}</ref>{{Failed verification|date=October 2020|reason=Quote does not exist at all on provided reference}}

[[Joan Jonas]] (born July 13, 1936) is an American visual artist and a pioneer of [[video art|video]] and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s.<ref name=MIT>[http://act.mit.edu/people/professors/joan-jonas/ Faculty: Joan Jonas] ACT at MIT – MIT Program in Art, Culture and Technology.</ref> Jonas' projects and experiments provided the foundation on which much video performance art would be based.  Her influences also extended to [[conceptual art]], theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.<ref>[http://joanjonasvenice2015.com/artist-joan-jonas/ "Artist Joan Jonas"], Venice Bienniale, Retrieved August 17, 2014.</ref><ref name="EAI">[http://www.eai.org/artistBio.htm?id=408 "Joan Jonas: Biography"] {{webarchive|url=https://web.archive.org/web/20110121122518/http://www.eai.org/artistBio.htm?id=408|date=January 21, 2011}}, Electronic Arts Intermix, Retrieved June 6, 2020.</ref> Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer [[Trisha Brown]] for two years.<ref name=GuggenheimBio>{{cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |title=Collection Online – Joan Jonas |publisher=[[Solomon R. Guggenheim Museum]] |access-date=June 8, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140416181309/http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |archive-date=April 16, 2014 }}</ref>
Jonas also worked with choreographers Yvonne Rainer and Steve Paxton.<ref name="Joan Jonas">{{cite web |title=Joan Jonas |url=https://www.pbs.org/art21/artists/joan-jonas |archive-url=https://web.archive.org/web/20141011081210/http://www.pbs.org/art21/artists/joan-jonas |url-status=dead |archive-date=October 11, 2014 |website=pbs.org}}</ref>

[[Yoko Ono]] was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement.<ref>{{Cite web|url=http://www.milartgranada.com/yoko-ono-la-artista-desconocida-mas-famosa-del-mundo/|title=Yoko Ono: La Artista desconocida más Famosa del Mundo}}</ref> She is known for her performance art pieces in the late 1960s, works such as ''Cut Piece'', where visitors could intervene in her body until she was left naked.<ref>{{cite news|title=Yoko Ono, Cut Piece y la performance feminista|url=https://revistamirall.com/2017/07/12/yoko-ono-cut-piece-y-la-performance-feminista/|access-date=May 21, 2020|work=Mirall|date=July 12, 2017}}</ref> One of her best known pieces is ''Wall piece for orchestra'' (1962).<ref>{{cite web |url= https://www.revistavanityfair.es/sociedad/celebrities/articulos/john-lennon-yoko-ono-boda-gibraltar-bed-peace-hair-peace/23747|publisher= Vanity Fair|title=John Lennon, Yoko Ono y Gibraltar|author=Ana López-Varela |date=September 2017|access-date=May 26, 2020}}</ref><ref>{{cite news |url= https://www.lanacion.com.ar/lifestyle/la-yoko-que-no-vemos-nid195543|newspaper= La Nación|title= La Yoko que no vemos|date=October 1998|access-date=May 26, 2020}}</ref>

[[Joseph Beuys]] was a German Fluxus, [[happening]], performance artist, painter, sculptor, [[medallist]] and [[installation artist]]. In 1962 his actions alongside the Fluxus neodadaist movement started, group in which he ended up becoming the most important member. His most relevant achievement was his socialization of art, making it more accessible for every kind of public.<ref>{{cite web|url=http://www.walkerart.org|title=Walker Art Center – Contemporary Art Museum – Minneapolis|website=www.walkerart.org}}</ref> In ''How to Explain Pictures to a Dead Hare'' (1965) he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal.<ref>{{cite book|last=Tisdall|first=Caroline|title=Joseph Beuys|year=2010|publisher=Thames & Hudson|page=37}}</ref> Beuys acted as a shaman with healing and saving powers toward the society that he considered dead.<ref>Andre Chahil: [http://andrechahil.com/wien-1985-phaenomen-fax-art-beuys-warhol-und-higashiyama-setzen-dem-kalten-krieg-ein-zeichen ''Wien 1985: Phänomen Fax-Art. Beuys, Warhol und Higashiyama setzen dem Kalten Krieg ein Zeichen.'']</ref> In 1974 he carried out the performance ''[[I Like America and America Likes Me]]'' where Beuys, a coyote and materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote for three days. He piled United States newspapers, a symbol of capitalism.<ref name="henry-moore.org">{{cite web|url=http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|title=Henry Moore Institute|access-date=June 10, 2020|archive-date=March 22, 2016|archive-url=https://web.archive.org/web/20160322142430/http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|url-status=dead}}</ref> With time, the tolerance between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements used in other works.<ref>{{cite AV media|people=Halpern, John (Director)|date=April 15, 1988|title=[Joseph Beuys / Transformer]|medium=Television sculpture|location=New York City|publisher=I.T.A.P. Pictures|url=http://www.beuysfilm.com/}}</ref> Objects that differ form Duchamp's ready-mades, not for their poor{{clarify|date=October 2020}} and ephemerality, but because they are part of Beuys's own life, who placed them after living with them and leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by the tartars who saved{{clarify|date=October 2020}} in World War Two. In 1970 he made his ''Felt Suit''. Also in 1970, Beuys taught sculpture in the Kunstakademie Düsseldorf.<ref>{{cite book |last1=Hopper |first1=Kenneth |last2=Hopper |first2=William |title=The Puritan gift: triumph, collapse, and the revival of an American dream |publisher=I.B.Tauris |year=2007 |isbn=978-1-85043-419-1 |page=334}}</ref> In 1979, the [[Solomon R. Guggenheim Museum]] of New York City exhibited a retrospective of his work from the 1940s to 1970.<ref>{{cite book |last=Hughes |first=Robert |title=The Shock of the New |edition= revised |publisher=Alfred A. Knopf |location=New York |isbn=0-679-72876-7 |year=1991 |page=[https://archive.org/details/shockofnew0000hugh/page/444 444] |url=https://archive.org/details/shockofnew0000hugh/page/444 }}</ref><ref>{{Cite web|url=https://www.eliasmariareti.de/Biografie|title=Elias Maria Reti - Künstler – Biografie|website=www.eliasmariareti.de|language=de|access-date=December 18, 2018|archive-url=https://web.archive.org/web/20181218193410/http://www.eliasmariareti.de/Biografie|archive-date=December 18, 2018}}</ref><ref>{{cite book|last=Ulmer|first=Gregory|title=Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys|year=1985|publisher=Johns Hopkins University Press|page=230}}</ref>

<gallery widths="200" heights="200">
File:Barbara Smith at NWSA 2017.jpg|Portrait of [[Barbara Smith]]
File:2012 Yoko Ono (8170166921).jpg|Conference by [[Yoko Ono]] in the Viena Biennial, 2012
File:Yoko Ono at John Lennon Plaque Unveiling (5107729471).jpg|Portrait of [[Yoko Ono]]
File:CaroleeSchneemann2008.jpg|Video art piece from the Brooklyn Museum with an interview with [[Carolee Schneemann]]
File:Joan Jonas Vertical Roll.jpg|[[Joan Jonas]] during a performance documented on video and installed, 1972
File:Joan Jonas (4518929754).jpg|Portrait of artist [[Joan Jonas]]
File:BeuysAchberg78.jpg|Portrait of [[Joseph Beuys]] in a conference-performance, 1978
File:Joseph Beuys Filtz TV by Lothar Wolleh.jpg|[[Joseph Beuys]] in a video art piece
</gallery>

[[Nam June Paik]] was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers [[Karlheinz Stockhausen]] and [[John Cage]] and the [[conceptual art]]ists [[Sharon Grace]] as well as [[George Maciunas]], [[Joseph Beuys]] and [[Wolf Vostell]] and was from 1962 on, a member of the experimental art movement [[Fluxus]].<ref>[[Christiane Paul (curator)|Christiane Paul]], Digital Art, Thames & Hudson, London, pp. 14–15</ref><ref>Petra Stegmann. ''The lunatics are on the loose – European Fluxus Festivals 1962–1977, Down with Art!'', Potsdam, 2012, {{ISBN|978-3-9815579-0-9}}.</ref> Nam June Paik then began participating in the [[Neo-Dada]] art movement, known as [[Fluxus]], which was inspired by the composer [[John Cage]] and his use of everyday sounds and noises in his music.<ref>{{cite web |url= https://www.guggenheim-bilbao.eus/exposiciones/los-mundos-de-nam-june-paik |publisher= Museo Guggenheim|title=Los mundos de Nam June Paik|date=September 30, 2002|access-date=June 5, 2020}}</ref> He was mates with [[Yoko Ono]] as a member of [[Fluxus]].<ref>{{cite web |url=  https://www.imdb.com/name/nm0656760/bio|publisher=IMDb|title=Biografía de Nam June Paik|first1=Steve|last1=Shelokhonov|access-date=June 5, 2020}}</ref>

[[Wolf Vostell]] was a German artist, one of the most representative of the second half of the 20th century, who worked with various mediums and techniques such as painting, sculpture, [[installation art|installation]], [[decollage]], [[video art]], [[happening]] and [[fluxus]].<ref>{{cite web|url=http://www.medienkunstnetz.de/works/you/|title=Media Art Net – Vostell, Wolf: YOU|date=April 12, 2018|website=www.medienkunstnetz.de}}</ref>

[[Vito Acconci]]<ref name="artnews">{{cite news|last1=Russeth|first1=Andrew|title=Vito Acconci, Whose Poetic, Menacing Work Forms Bedrock of Performance, Video Art, Dies at 77|url=http://www.artnews.com/2017/04/28/vito-acconci-dies-at-77/|access-date=April 28, 2017|work=ARTnews|agency=Art Media|publisher=Sarah Douglas|date=April 28, 2017}}</ref><ref name="nytimes">{{cite web |url=https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html |title=Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 |first=Randy |last=Kennedy |date=April 28, 2017 |work=[[The New York Times]] |access-date=April 30, 2017|archive-url=https://archive.today/20170430074005/https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html?_r=0 |archive-date=April 30, 2017}}</ref> was an influential American performance, video and [[installation art]]ist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art<ref name="newyorker">{{cite magazine |url= https://www.newyorker.com/culture/culture-desk/postscript-vito-acconci-1940-2017 |title=Postscript: Vito Acconci, 1940–2017 |first=Andrea K. |last=Scott |date=April 28, 2017 |magazine=[[The New Yorker]] |access-date=March 20, 2018}}</ref> was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity,<ref name="nytimes" /> and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world.<ref name="atlantic">{{cite web |url=https://www.theatlantic.com/entertainment/archive/2017/05/vito-acconcis-sensational-performance-art-and-the-shifting-standards-of-pc-in-museums/524919/ |title=Vito Acconci and the Shelf Life of Sensational Art |first=Kriston |last=Capps |date=May 3, 2017 |work=[[The Atlantic]] |access-date=March 20, 2018}}</ref><ref name="guggenheim">{{cite web |url=https://www.guggenheim.org/artwork/artist/vito-acconci |title=Vito Acconci, Guggenheim Collection Online |work=[[Solomon R. Guggenheim Museum]] |access-date=March 20, 2018}}</ref> His work is considered to have influenced artists including [[Laurie Anderson]], [[Karen Finley]], [[Bruce Nauman]], and [[Tracey Emin]], among others.<ref name="atlantic" /> Acconci was initially interested in radical poetry, but by the late 1960s, he began creating [[Situationist]]-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were ''Following Piece'' (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and ''[[Seedbed (performance piece)|Seedbed]]'' (1972), in which he claimed that he masturbated while under a temporary floor at the [[Sonnabend Gallery]], as visitors walked above and heard him speaking.<ref name="met">{{cite web |url=https://www.metmuseum.org/art/collection/search/266876 |title=''Seedbed'', Vito Acconci, The Met Collection Online |work=[[Metropolitan Museum of New York]] |date=1972 |access-date=March 20, 2018}}</ref>

[[Chris Burden]] was an American artist working in [[Performance Art|performance]], sculpture and [[installation art]]. Burden became known in the 1970s for his performance art works, including ''[[Shoot (Burden)|Shoot]]'' (1971), in which he arranged for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his death in 2015.<ref name="Margalit Fox 2015">{{cite news|first=Margalit|last=Fox|date=May 11, 2015|url=https://www.nytimes.com/2015/05/12/arts/chris-load-a-conceptualist-with-scars-dies-at-69.html|title=Chris Burden, un conceptualista con cicatrices, muere a los 69.|work=The New York Times}}</ref><ref name="newyorker.com">{{cite magazine|first=Peter|last=Schjeldahl|date=May 14, 2007|url=http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl|title=Actuación: Chris Burden y los límites del arte|magazine=The New Yorker}}</ref><ref name="nytimes.com">{{cite news|first=Roberta|last= Smith|date=October 3, 2013|url=https://www.nytimes.com/2013/10/04/arts/design/chris-burden-extreme-measures-at-the-new-museum.html|title=Las cosas de construir y destruir: 'Chris Burden: Extreme Measures' en el New Museum|work=The New York Times}}</ref> Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, ''[[Five Day Locker Piece]]'' (1971), was created for his master's thesis at the University of California, Irvine,<ref name="Margalit Fox 2015"/> and involved his being locked in a locker for five days.<ref name=WorkEthic>[https://books.google.com/books?id=XcAGVtDLBpMC&dq=%22chris+burden%22+%22honest+labor%22&pg=PA115 Work Ethic], by Helen Anne Molesworth, M. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Art Center, Wexner Center for the Arts; published 2003 by [[Penn State Press]]</ref>

[[Dennis Oppenheim]] was an American [[conceptual art]]ist, performance artist, [[Land art|earth artist]], sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics.<ref name="Taylor">Simon Taylor, ''Dennis Oppenheim, New Works'', Guild Hall Museum, East Hampton, NY: 2001.  {{ISBN|0-933793-53-7}}</ref>

[[Yayoi Kusama]] is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, [[Andy Warhol]] and [[Claes Oldenburg]].<ref>Kate Deimling (May 16, 20, [http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography Kusama Writes of Hunger, Grudges, and Necking With Joseph Cornell in Her Odd Autobiography] {{Webarchive|url=https://web.archive.org/web/20131106035904/http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography |date=November 6, 2013 }}, Blouinartinfo France.</ref> She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art.<ref>Yamamura, Midori (2015) ''Yayoi Kusama: Inventing the Singular.'' MIT Press. {{ISBN|9780262029476}}</ref><ref>{{Cite news|last=Russeth|first=Andrew|title=Carolee Schneemann, Protean Artist Who Helped Define Contemporary Avant-Garde, Has Died at 79|url=http://www.artnews.com/2019/03/06/carolee-schneemann-died-feminist-art/|date=March 6, 2019|access-date=June 6, 2020|publisher=ArtNews|location=New York (Estados Unidos)}}</ref>

<gallery widths="200" heights="200">
File:Korea-Nam June Paik-One hundread-and-eight Tourments.jpg|Video-installation-performance by [[Nam June Paik]] in 2008
File:"Perpetual Mobile I" within "Fish Flies On Sky".jpg|Video-installation-performance by [[Nam June Paik]] in Düsseldorf
File:Wolf Vostell, 1980 in Spain.jpg|Portrait of [[Wolf Vostell]] in 1980
File:Allan Kaprow.jpg|Portrait of [[Allan Kaprow]] in 1973
File:Vito1973.jpg|[[Vito Acconci]] during a video-performance in 1973
File:Vito acconci, multi bed -1, 1992.jpg|Installation by [[Vito Acconci]] in the Luigi Pecci Contemporary Art Centre
File:Dennis Oppenheim "Engagement" Vancouver Sulpture Biennale (5086405361).jpg|Installation by [[Dennis Oppenheim]] in the Vancouver Sculpture Biennial
</gallery>

== 1970s ==
[[File:Entree of the Schaulager museum, Münchenstein, 2018.jpg|thumb|Installation by [[Bruce Nauman]] with various video performances]]
[[File:Gilbert & George 2007 crop.jpg|thumb|[[Gilbert and George]] in London, 2007]]

In the 1970s, artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline, deriving into installations created through performance, video performance, or collective actions, or in the context of a socio-historical and political context.

=== Video performance ===
In the early 1970s the use of video format by performance artists was consolidated. Some exhibitions by [[Joan Jonas]] and [[Vito Acconci]] were made entirely of video, activated by previous performative processes. In this decade, various books that talked about the use of the means of communication, video and cinema by performance artists, like ''Expanded Cinema'', by Gene Youngblood, were published. One of the main artists who used video and performance, with notorious audiovisual installations, is the South Korean artist [[Nam June Paik]], who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for.

[[Carolee Schneemann]]'s and Robert Whitman's 1960s work regarding their video-performances must be taken into consideration as well. Both were pioneers of performance art, turning it into an independent art form in the early seventies.<ref>{{cite book|last1=Youngblood|first1=Gene|title=Expanded Cinema|publisher=A. Dutton|year=1970|location=New York City}}</ref>

[[Joan Jonas]] started to include video in her experimental performances in 1972, while [[Bruce Nauman]] scenified{{clarify|date=October 2020}} his acts to be directly recorded on video.<ref>{{cite web|url=https://www.jochengerz.eu/works/to-call-until-exhaustion|title=To Call Until Exhaustion|access-date=June 12, 2020|publisher=Jochen Gerz}}</ref> Nauman is an American multimedia artist, whose sculptures, videos, graphic work and performances have helped diversify and develop culture from the 1960s on. His unsettling artworks emphasized the conceptual nature of art and the creation process.<ref>{{Cite web|title=Bruce Nauman|url=http://www.epdlp.com/pintor.php?id=2689|access-date=June 11, 2020}}</ref> His priority is the idea and the creative process over the result. His art uses an incredible array of materials and especially his own body.<ref>{{Cite web|title=Bruce Nauman {{!}} ArtDiscover|url=http://www.artdiscover.com/es/artistas/bruce-nauman-id2|website=www.artdiscover.com|access-date=June 11, 2020|archive-date=June 11, 2020|archive-url=https://web.archive.org/web/20200611132203/http://www.artdiscover.com/es/artistas/bruce-nauman-id2|url-status=dead}}</ref><ref>{{Cite web|title=Bruce Nauman|url=http://www.epdlp.com/pintor.php?id=2689|website=www.epdlp.com|access-date= June 11, 2020}}</ref>

[[Gilbert and George]] are Italian artist Gilbert Proesch and English artist George Passmore, who have developed their work inside conceptual art, performance and body art. They were best known for their live-sculpture acts.<ref>{{cite news|last1=Ruíz Mantilla|first1=Jesús|title=Gilbert & George amantes, socios, artistas|url=https://elpais.com/diario/2011/04/10/eps/1302416817_850215.html|access-date=June 11, 2020|work=El País|date=April 10, 2011}}</ref><ref>{{cite web|title=Gilbert and George|url=https://www.guggenheim-bilbao.eus/la-coleccion/artistas/gilbert-and-george|publisher=Guggenheim Bilbao Museo|access-date=June 11, 2020}}</ref> One of their first makings was ''The Singing Sculpture'', where the artists sang and danced "Underneath the Arches", a song from the 1930s. Since then they have forged a solid reputation as live-sculptures, making themselves works of art, exhibited in front of spectators through diverse time intervals. They usually appear dressed in suits and ties, adopting diverse postures that they maintain without moving, though sometimes they also move and read a text, and occasionally they appear in assemblies or artistic installations.<ref>{{cite news|title=Gilbert & George, la vida como obra de arte|url=https://masdearte.com/gilbert-a-george-la-vida-como-obra-de-arte/|access-date=June 11, 2020|work=Masdearte.com|date=February 5, 2010}}</ref> Apart from their sculptures, Gilbert and George have also made pictorial works, collages and photomontages, where they pictured themselves next to diverse objects from their immediate surroundings, with references to urban culture and a strong content; they addressed topics such as sex, race, death and HIV, religion or politics,<ref>{{cite news|last1=Ramos|first1=Charo|title=El arte para todos de Gilbert & George|url=https://www.diariodesevilla.es/artes_plasticas/arte-Gilbert-George-Brafa_0_1328267542.html|access-date=June 11, 2020|work=Diario de Sevilla|date=February 2019}}</ref> critiquing many times the British government and the established power. The group's most prolific and ambitious work was ''Jack Freak Pictures'', where they had a constant presence of the colors red, white and blue in the Union Jack. Gilbert and George have exhibited their work in museums and galleries around the world, like the Stedelijk van Abbemuseum of [[Eindhoven]] (1980), the Hayward Gallery in London (1987), and the [[Tate Modern]] (2007). They have participated in the Venice Biennale. In 1986 they won the Turner Prize.<ref>{{cite news|title=Gilbert & George: "Intentamos estar lejos del arte para no contaminarnos"|url=http://www.tendenciasdelarte.com/gilbert-george-intentamos-estar-lejos-del-arte-para-contaminarnos/|access-date=June 11, 2020|work=Tendencias}}</ref>

=== Endurance art ===
{{Main|Endurance art}}
Endurance performance art deepens the themes of trance, pain, solitude, deprivation of freedom, isolation or exhaustion.<ref>For artists in endurance performances "[q]uestioning the limits of their bodies," Tatiana A. Koroleva, ''Subversive Body in Performance Art'', ProQuest, 2008, pp. 29, 44–46.</ref> Some of the works, based on the passing of long periods of time are also known as long-durational performances.<ref>Paul Allain, Jen Harvie, ''The Routledge Companion to Theatre and Performance'', Routledge, 2014, p. 221. Other terms include duration art, live art or time-based art.</ref> One of the pioneering artists was [[Chris Burden]] in California since the 1970s.<ref>Michael Fallon, ''Creating the Future: Art and Los Angeles in the 1970s'', Counterpoint, 2014, p. 106: "Burden's performances were so widely observed that they took on a life beyond the artist, helping create a new art genre, 'endurance art'..."</ref> In one of his best known works, ''Five days in a locker'' (1971) he stayed for five days inside a school locker, in ''Shoot'' (1971) he was shot with a firearm, and inhabited for twenty two days a bed inside an art gallery in ''Bed Piece'' (1972).<ref>Emily Anne Kuriyama, [http://ca.complex.com/style/2013/10/chris-burden-art-new-museum/back-to-you "Everything You Need to Know About Chris Burden's Art Through His Greatest Works"], ''Complex'', October 2, 2013.</ref> Another example of endurance artist is Tehching Hsieh. During a performance created in 1980–1981 (''Time Clock Piece''), where Hsieh took a photo of himself next to time clock installed in his studio every hour for an entire year. Hsieh is also known for his performances about deprivation of freedom; he spent an entire year confined.<ref name="Taylor30April2014">Andrew Taylor, [http://www.smh.com.au/entertainment/art-and-design/tehching-hsieh-the-artist-who-took-the-punches-as-they-came-20140429-37fri.html "Tehching Hsieh: The artist who took the punches as they came"], ''Sydney Morning Herald'', April 30, 2014: "Don't try this endurance art at home. That is Tehching Hsieh's advice to artists inspired to emulate the five year-long performances he began in the late 1970s."</ref> In ''The House With the Ocean View'' (2003), [[Marina Abramović]] lived silently for twelve days without food.<ref name="McEvilleyApril2003">Thomas McEvilley, "Performing the Present Tense – A recent piece by Marina Abramovic blended endurance art and Buddhist meditation," ''Art in America'', 91(4), April 2003.</ref> [[The Nine Confinements or The Deprivation of Liberty]] is a conceptual endurance artwork of critical content carried out in the years 2013 and 2016. All of them have in common the illegitimate deprivation of freedom.

=== Performance in a political context ===
In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as [[Budapest]], [[Kraków]], Belgrade, [[Zagreb]], [[Novi Sad]] and others, scenic arts of a more experimental content flourished. Against political and social control, different artists who made performance of political content arose. [[Orshi Drozdik]]'s performance series, titled ''Individual Mythology'' 1975–77 and the ''NudeModel'' 1976–77. All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state.<ref>{{cite web|first=Orsolya|last=Orshi Drozdik|title=Sensuality and Matter|url=http://budapestgaleria.hu/_/en/2018-exhibitions/orsolya-orshi-drozdik-sensuality-and-matter/|publisher=Budapest Gallery|date=September 2018|access-date=June 12, 2020}}</ref> Drozdik showed a pioneer and feminist point of view on both, becoming one of the precursors of this type of critical art in Eastern Europe.<ref>{{cite web|title=Orshi Drozdik|url=https://www.mutualart.com/Artist/Orshi-Drozdik/A46119C2D5D34177|date=2016|access-date=June 12, 2020}}</ref> In the 1970s, performance art, due to its fugacity,{{clarify|date=July 2020|reason=not an English word}} had a solid presence in the Eastern European avant-garde, specially in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically emerged.

[[File:Tehching Hsieh Cage Piece (1).jpg|left|thumb|Cell where [[Tehching Hsieh]] carried out his endurance art work; the piece is now in the Modern Art Museum of New York collection]]

=== The Other ===
[[File:Abramovic Ulay.jpg|thumb|[[Ulay]] and [[Marina Abramović]], ''The Other'' collective in one of their works]]

In the mid-1976s, [[Ulay]] and [[Marina Abramović]] founded the collective The Other in the city of [[Amsterdam]]. When Abramović and Ulay<ref>{{Cite web|url=https://www.larazon.es/cultura/20200302/kstisk74snhujjhfd2m76hus2m.html|title=Muere Ulay, el compañero artístico y vital de Marina Abramovic|access-date=March 12, 2020|last=Pajares|first=Gema|date=March 2, 2020|website=La Razón}}</ref> started their collaboration. The main concepts they explored were the ego and artistic identity. This was the start of a decade of collaborative work.<ref>{{Cite web|url=https://elcultural.com/muere-el-artista-ulay|title=Muere el artista Ulay|access-date=June 12, 2020|date=March 2, 2020|website=El Cultural}}</ref> Both artists were interested in the tradition of their cultural heritage and the individual's desire for rituals.<ref>{{Cite web|url=https://www.tate.org.uk/art/artworks/abramovic-rhythm-0-t14875|title='Rhythm 0', Marina Abramovic, 1974|access-date=June 12, 2020|last=Tate|website=Tate}}</ref> In consecuense,{{clarify|date=October 2020}} they formed a collective named ''The Other''. They dressed and behaved as one, and created a relation of absolute confidence. They created a series of works in which their bodies created additional spaces for the audience's interaction. In ''Relation in Space'' they ran around the room, two bodies like two planets, meshing masculine and feminine energies into a third component they called "that self".<ref>{{cite web|url=http://www.youtube.com/watch?v=traUaknfR5o |archive-url=https://ghostarchive.org/varchive/youtube/20211211/traUaknfR5o| archive-date=2021-12-11 |url-status=live|title=Marina Abramović y Ulay en La Artista Está Presente – MoMA 2010|website=[[YouTube]]|date=March 19, 2013 }}{{cbignore}}</ref> ''Relation in Movement'' (1976) had the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car, forming a sculpture, and each round represented a year.<ref>kunstwissen.de [https://archive.today/20120909085829/http://www.kunst-wissen.de/fach/f-kuns/o_pm/abramo0.htm ''Marina Abramovic (1946–'']</ref> After this, they created ''Breathing In/Breathing Out'', where both of them united their lips and inspired the air expired by the other one until they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a person to absorb the life out of another one, changing them and destroying them. In 1988, after some years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism, energy and attraction.<ref>Gudrun Sachse: [http://www.nzzfolio.ch/www/d80bd71b-b264-4db4-afd0-277884b93470/showarticle/c3aa511b-4a35-46e9-99bc-703d6cfb7141.aspx ''Die Mutter aller Schmerzen'']. In: ''[[NZZ Folio]]'' 1/2007</ref> Ulay started on the Gobi desert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres, found each other in the middle and said goodbye.

=== Main artists ===
In 1973, [[Laurie Anderson]] interpreted ''Duets on Ice'' in the streets of New York. [[Marina Abramović]], in the performance ''Rhythm 10'', included conceptually the violation of a body.<ref>{{cite web|url=http://www.medienkunstnetz.de/works/rhythm-10-2/|title=Marina Abramović Rhythm 10|access-date=June 11, 2020|publisher=Media Art Net}}</ref> Thirty years later, the topic of rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as ''Clifford Owens'',<ref>{{cite news|url=http://gothamist.com/2012/03/09/this_sunday_ps1_may_or_may_not_host.php|title=This Sunday MoMA PS1 May Or May Not Host A "Performance Art Rape"|work=[[Gothamist]]|date=March 9, 2012|first=Jen|last=Carlson|access-date=June 11, 2020|archive-date=August 10, 2015|archive-url=https://web.archive.org/web/20150810231244/http://gothamist.com/2012/03/09/this_sunday_ps1_may_or_may_not_host.php|url-status=dead}}</ref> ''Gillian Walsh'', ''Pat Oleszko'' and ''Rebecca Patek,'' amongst others.<ref>{{cite news|url=https://www.nytimes.com/2013/07/31/arts/dance/the-margins-of-a-form-are-increasingly-not-where-they-used-to-be.html?smid=fb-share&_r=0|title=The Margins of a Form Are, Increasingly, Not Where They Used to Be|work=[[The New York Times]]|date=July 30, 2013|first=Gia|last=Kourlas|access-date=June 11, 2020}}</ref> New artists with radical acts consolidated themselves as the main precursors of performance, like [[Chris Burden]], with the 1971 work ''Shoot'', where an assistant shot him in the arm from a five-meter distance, and [[Vito Acconci]] the same year with ''Seedbed''. The work ''Eye Body'' (1963) by Carolee Schneemann en 1963, had already been considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as ''Interior Scroll'', that showed the feminine body as an artistic media.

One of the main artists was [[Gina Pane]],<ref name=OAO>{{cite web|title=Panel, Gina|url=http://www.oxfordartonline.com/subscriber/article/grove/art/T065032|website=Oxford Art Online|access-date=June 11, 2020}}</ref> French artist of Italian origins. She studied at the [[École nationale supérieure des Beaux-Arts]] in París from 1960 until 1965<ref name=Hillstrom>{{cite book|last1=Hillstrom|first1=Laurie|last2=Hillstrom|first2=Kevin|title=Artistas contemporáneas|url=https://archive.org/details/contemporarywome00kevi|date=1999|editor=St. James Press|location=Farmington Hills, MI|isbn=1558623728|pages=[https://archive.org/details/contemporarywome00kevi/page/507 507], 508|access-date=June 11, 2020}}</ref> and was a member of the performance art movement in the 1970 in France, called  "Art Corporel".<ref name="Broadway1602">{{cite web|title=Gina Pane|url=http://broadway1602.com/artist/gina-pane/|archive-url=https://web.archive.org/web/20151023075931/http://broadway1602.com/artist/gina-pane/|url-status=usurped|archive-date=October 23, 2015|website=Broadway 1602|access-date=June 11, 2020}}</ref> Parallel to her art, Pane taught in the Ecole des Beaux-Arts in Mans from 1975 until 1990 and directed an ''atelier'' dedicated to performance art in the Pompidou Centre from 1978 to 1979.<ref name="Broadway1602"/> One of her best known works is ''The Conditioning '' (1973), in which she was lied into a metal bed spring over an area of lit candles. ''The Conditioning '' was created as an homage to [[Marina Abramović]], part of her ''Seven Easy Pieces''(2005) in the [[Solomon R. Guggenheim Museum]] in New York City in 2005. Great part of her works are protagonized by self-inflicted pain, separating her from most of other woman artists in the 1970s. Through the violence of cutting her skin with razors or extinguishing fires with her bare hands and feet, Pane has the intention of inciting a ''real experience'' in the visitor, who would feel moved for its discomfort.<ref name="OAO"/> The impactful nature of these first performance art pieces or actions, as she preferred to call them, many times eclipsed her prolific photographic and sculptural work. Nonetheless, the body was the main concern in Panes's work, either literally or conceptually.

<br />

<gallery widths="200" heights="200">
File:Ulay.jpg|Portrait of [[Ulay]] in 1972
File:Furgone Abramovic-Ulay 02.jpg|Abramovic and [[Ulay]]'s Furgone
File:Marina Abramović in Stockholm 2017-2.jpg|Exhibition of Marina Abramović's first works in Stockholm
File:Truncated Pyramid Room.jpg|Installation by [[Bruce Nauman]] in Germany
File:NTSC color bar calibration-(for Video Flag Z by artist Nam June Paik) 2013-07-20 18-21.jpg|Video installation by [[Nam June Paik]]
File:Gilbert.george.jpg|[[Gilbert and George]] in a presentation
File:Orshi Drozdik Brains on High Heels, 1993 installation, photo 2006.jpg|Orshi Drozdik in one of her exhibitions
</gallery>

== 1980s ==
=== The technique of performance art ===
Until the 1980s, performance art has demystified virtuosism,{{clarify|date=October 2020}} this being one of its key characteristics. Nonetheless, from the 1980s on it started to adopt some technical brilliancy.<ref>{{cite book|last1=Banes|first1=Sally|title=Subversive expectations: performance art and paratheater in New York, 1976–85|publisher=The University of Michigan Press|year=1998|location=New York City|pages=120, 1|url=https://books.google.com/books?id=DdrVYfkAm6IC&q=1980s+performance+art&pg=PA10|access-date=March 23, 2011|isbn=0-472-09678-8}}</ref> In reference to the work ''Presence and Resistance''<ref>{{cite book|last1=Auslander|first1=Philip|title=Presence and Resistance: Postmodernism and Cultural politics in Contemporary American Performance|publisher=University of Michigan Press|year=1992|location=Ann Arbour|pages=64–65, 78–79}}</ref> by Philip Auslander, the dance critic Sally Banes writes, "... by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment."<ref>{{cite book|last1=Banes|first1=Sally|title=Subversive expectations: performance art and paratheater in New York, 1976–85|publisher=The University of Michigan Press|year=1998|location=New York City|pages=10, 1|url=https://books.google.com/books?id=DdrVYfkAm6IC&q=1980s+performance+art&pg=PA10|access-date=March 23, 2011|isbn=0-472-09678-8}}</ref> In this decade the parameters and technicalities built to purify and perfect performance art were defined.

[[File:Roselee Goldberg Роузли Голдберг (11345275236).jpg|left|thumb|Critic and performance expert [[RoseLee Goldberg]] during a symposium in Moscow]]
[[File:TehchingHsiehExhibitMOMA.jpg|300px|thumb|[[Tehching Hsieh]] exhibition in the [[Modern Art Museum of New York]], where the artist made a daily self-portrait]]

=== Critique and investigation of performance art ===
Despite the fact that many performances are held within the circle of a small art-world group, [[Roselee Goldberg]] notes in ''Performance Art: From Futurism to the Present'' that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise." In this decade, publications and compilations about performance art and its best known artists emerged.

=== Performance art from a political context ===
In the 1980s, the political context played an important role in the artistic development and especially in performance, as almost every one of the works created with a critical and political discourse were in this discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had actively been rejected by most communist governments. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest or a bitter comment, using subversive metaphors to express dissent with the political situation.<ref>{{cite web|url=http://perfomap.de/current/kart/reclaiming-the-invisible|title=Reclaiming the Invisible Past of Eastern Europe|access-date=March 1, 2011|last=Zajanckauska|first=Zane|author2=Interview with Ieva Astahovska|publisher=map – media archive performance|archive-date=April 16, 2011|archive-url=https://web.archive.org/web/20110416151339/http://perfomap.de/current/kart/reclaiming-the-invisible|url-status=dead}}</ref> Amongst the most remarkable performance art works of political content in this time were those of [[Tehching Hsieh]] between July 1983 and July 1984, ''Art/Life: One Year Performance'' (Rope Piece).<ref>{{cite web|url=http://perfomap.de/current/kart/reclaiming-the-invisible|title=Reclaiming the Invisible Past of Eastern Europe|access-date=March 23, 2011|last=Zajanckauska|first=Zane|author2=Interview with Ieva Astahovska|publisher=map – media archive performance|url-status=dead|archive-url=https://web.archive.org/web/20110416151339/http://perfomap.de/current/kart/reclaiming-the-invisible|archive-date=April 16, 2011}}</ref>

=== Performance poetry ===
In 1982 the terms "poetry" and "performance" were first used together. [[Performance poetry]] appeared to distinguish text-based vocal performances from performance art, especially the work of escenic{{clarify|date=October 2020}} and musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. Many artists since [[John Cage]] fuse performance with a poetical base.

=== Feminist performance art ===
{{Main|Feminist Performance Art}}
[[File:Benglis from Arti.jpg|left|thumb|Portrait of [[Lynda Benglis]], 1974]]
[[File:Andres+Pina+Matthias wiki.jpg|thumb|Portrait of [[Pina Bausch]], 1985]]

Since 1973 the Feminist Studio Workshop in the Woman's Building of Los Ángeles had an impact in the wave of feminist acts, but until 1980 they did not completely fuse. The conjunction between feminism and performance art progressed through the last decade. In the first two decades of performance art development, works that had not been conceived as feminist are seen as such now.{{clarify|date=October 2020}}

Still, not until 1980 did artists self-define themselves as feminists. Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out.<ref>{{Cite book|url=http://lasa.international.pitt.edu/Lasa2001/AlcazarJosefina.pdf|title=Mujeres y performance. El cuerpo como soporte|last=Alcázar|first=Josefina|date=2001|publisher=Centro de Investigación Teatral Rodolfo Usigli|access-date=June 10, 2020}}</ref> This connection has been treated in contemporary art history research. Some of the women whose innovative input in representations and shows was the most relevant were [[Pina Bausch]] and the [[Guerrilla Girls]] who emerged in 1985 in New York City,<ref>{{Cite web|url=http://www.guerrillagirls.com/our-story/|title=Our Story|access-date=September 21, 2016|author=Guerrilla Girls}}</ref> anonymous feminist and anti-racist art collective.<ref name=":657890" /><ref>{{Cite web|url=http://www.mujeresenred.net/spip.php?article1566|title=GUERRILLA GIRLS. La conciencia del mundo del arte|access-date=May 24, 2019|website=www.mujeresenred.net}}</ref><ref>{{Cite web|url=https://www.clarin.com/cultura/guerrilla-girls-traen-buenos-aires-30-anos-protestas_0_XQ75Uh2dL.html|title=Guerrilla Girls, la potencia del arte feminista llega a Buenos Aires|access-date=May 24, 2019|website=www.clarin.com|date=November 5, 2018}}</ref><ref>{{Cite web|url=https://www.revistacactus.com/la-guerra-de-guerrilla-girls/|title=La guerra de Guerrilla Girls|access-date=May 24, 2019|date=December 25, 2013|website=Cactus}}</ref> They chose that name because they used guerrilla tactics in their activism <ref name=":657890">{{Cite book|url=https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|title=Guerrilla Girls|last=Josefina|first=Pierucci|date=2017|pages=1, 5|access-date=March 23, 2018|archive-date=October 17, 2018|archive-url=https://web.archive.org/web/20181017203516/https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|url-status=dead}}</ref> to denounce discrimination against women in art through political and performance art.<ref>{{Cite journal|url=http://revistas.ucm.es/index.php/INFE/article/view/41877|title=El desafío de las artistas contemporáneas. Una aproximación a la presencia de las creadoras en las ferias de arte contemporáneo. El caso de ARCO.|last=Martín|first=Yolanda Beteta|date=April 23, 2013|journal=Investigaciones Feministas|volume=4|pages=49–65|access-date=March 23, 2018|issn=2171-6080|doi=10.5209/rev_INFE.2013.v4.41877|doi-access=free}}</ref><ref>{{Cite web|url=https://www.publico.es/culturas/guerrilla-girls-guerrilla-girls-revolucion-mujeres-artistas.html|title=Las Guerrilla Girls, la revolución de las mujeres artistas|access-date=May 24, 2019|website=www.publico.es|date=February 2, 2019 }}</ref><ref>{{Cite web|url=http://www.distritoarte.com/guerrilla-girls-arte-feminista/|title=Guerrilla Girls: arte feminista|access-date=May 24, 2019|date=June 9, 2016|website=Distrito Arte|archive-date=May 24, 2019|archive-url=https://web.archive.org/web/20190524183031/http://www.distritoarte.com/guerrilla-girls-arte-feminista/|url-status=dead}}</ref><ref>{{Cite web|url=https://indiehoy.com/especiales/galeria/guerrilla-girls-la-muestra-del-iconico-colectivo-feminista-llega-buenos-aires/|title=Guerrilla Girls: La muestra del icónico colectivo feminista que llega a Buenos Aires|access-date=May 24, 2019|last=Aiello|first=Julieta|date=November 15, 2018|website=[[Indie Hoy]]}}</ref> Their first performance was placing posters and making public appearances in museums and galleries in New York, to critique the fact that some groups of people were discriminated against for their gender or race.<ref>{{Cite web|url=https://historia-arte.com/artistas/guerrilla-girls|title=Guerrilla Girls|access-date=May 24, 2019|website=HA!}}</ref> All of this was done anonymously; in all of these appearances they covered their faces with gorilla masks (this was due to the similar pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists who had died.<ref>{{Cite news|last=Tate|title='Do Women Have To Be Naked To Get Into the Met. Museum?', Guerrilla Girls, 1989 {{!}} Tate|url=https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793|access-date=June 30, 2020|work=Tate}}</ref> From the 1970s until the 1980s, amongst the works that challenged the system and their usual strategies of representation, the main ones feature women's bodies, such as [[Ana Mendieta]]'s works in New York City where her body is outraged and abused, or the artistic representations by [[Louise Bourgeois]] with a rather minimalist discourse that emerge in the late seventies and eighties. Special mention to the works created with feminine and feminist corporeity{{clarify|date=October 2020}} such as [[Lynda Benglis]] and her phallic performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through feminist performance art the body becomes a space for developing these new discourses and meanings. Artist [[Eleanor Antin]], creator in the 1970s and 1980s, worked on the topics of gender, race and class. [[Cindy Sherman]], in her first works in the seventies and already in her artistic maturity in the eighties, continues her critical line of overturning the imposed self, through her use of the body as an object of privilege.

[[File:Hallway in the Wexner Center for the Arts.jpg|thumb|Exhibition by [[Cindy Sherman]] in the United States]]

[[Cindy Sherman]] is an American photographer and artist. She is one of the most representative post-war artists and exhibited more than the work of three decades of her work in the [[MoMA]]. Even though she appears in most of her performative photographies, she does not consider them self-portraits. Sherman uses herself as a vehicle to represent a great array of topics of the contemporary world, such as the part women play in our society and the way they are represented in the media as well as the nature of art creation. In 2020 she was awarded with the ''Wolf prize in arts''.<ref>{{Cite news|url=https://wolffund.org.il/2020/01/13/cindy-sherman/|title=Cindy Sherman|access-date=January 20, 2020|date=January 13, 2020|website=Wolf Foundation|archive-date=January 13, 2020|archive-url=https://web.archive.org/web/20200113105103/https://wolffund.org.il/2020/01/13/cindy-sherman/|url-status=dead}}</ref>

[[Judy Chicago]] is an artist and pioneer of feminist art and performance art in the United States. Chicago is known for her big collaborative art installation pieces on images of birth and creation, that examine women's part in history and culture. In the 1970s, Chicago has founded the first feminist art programme in the United States. Chicago's work incorporates a variety of artistic skills such as sewing, in contrast with skills that required a lot of workforce, like welding and pyrotechnics. Chicago's best known work is ''[[The Dinner Party]]'', that was permanently installed in the Elizabeth A. Sackler Center for Feminist Art in the [[Brooklyn Museum]]. ''The Dinner Party'' celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork. Other remarkable projects include ''International Honor Quilt'', ''The Birth Project,''<ref>{{Cite book|edition= 1st|title=The birth project|publisher=Doubleday|date=1985|isbn=0385187106|oclc=11159627|last=Chicago|first=Judy}}</ref> ''Powerplay,''<ref>{{Cite book|title=Judy Chicago : reviewing powerplay|publisher=David Richard Gallery|date=2012|isbn=9780983931232|oclc=841601939|last1=Chicago|first1=Judy|first2=David |last2=Richard}}</ref> and ''The Holocaust Project.''<ref>{{Cite book|title=Holocaust project: from darkness into light|publisher=Penguin Books|date=1993|isbn=0140159916|oclc=27145289|last=Chicago|first=Judy}}</ref>

The Canadian lesbian art collective [[Kiss and Tell collective|Kiss & Tell]], consisting of [[Persimmon Blackbridge]] (b.1951), [[Lizard Jones]] (b.1961), and [[Susan Stewart (artist)|Susan Stewart]] (b.1952), embodies queer feminism throughout their creative practice, which included an array of performance work.<ref name=":6">{{Cite book |last=Hutchinson |first=Kristen |url=https://www.aci-iac.ca/art-books/kiss-tell/overview/ |title=Kiss & Tell: Lesbian Art & Activism |publisher=Art Canada Institute |year=2025 |location=Toronto}}</ref> Their performances included monologues, confessionals, and humorous anecdotes, presented through a mix of storytelling, photography, video, and music to provoke and connect with audiences. Kiss & Tell were inspired by performance artists including [[Emmy Hennings]], [[Carolee Schneemann]], [[Martha Rosler]], and the [[Guerrilla Girls|Guerilla Girls]].<ref name=":6" />

<gallery widths="200" heights="200">
File:Students visiting Martha Rosler's show with Gregory Sholette.jpg|Students in a [[Martha Rosler]] exhibition
File:Guerrilla Girls - V&A Museum, London.jpg|The [[Guerrilla Girls]] in an opening in London
File:Guerrilla girls MOMA.jpg|Works of the 'Guerrilla Girls' in an exhibition in the [[Museum of Modern Art]], [[Manhattan]], New York
File:Mjellby konstmuseum interiör 2019 guerrilla girls.jpg|[[Guerrilla Girls]] exhibition
File:Aranha, Louise Joséphine Bourgeois (5878031270).jpg|Installation by [[Louise Bourgeois]] in a Brazilian museum
File:Judy Chicago with flight hood.jpg|Portrait of [[Judy Chicago]]
</gallery>

=== Expansion to Latin America ===
In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia -with artists such as ''Maria Teresa Hincapié''—, in Brasil and in Argentina.<ref name=":0" />
[[File:Escuchando los Sonidos de la muerte - Teresa Margolles.jpg|thumb|Women interacting with the work ''Listening to the sounds of death'' by [[Teresa Margolles]] in the Museo de la Memoria y la Tolerancia of [[Mexico City]]]]
[[Ana Mendieta]] was a conceptual and performance artist born in Cuba and raised in the United States. She's mostly known for her artworks and performance art pieces in land art. Mendieta's work was known mostly in the feminist art critic environment. Years after her death, specially since the Whitney Museum of American Art retrospective in 2004<ref>{{Cite news|last=Cotter|first=Holland|title=Art Review; Disappearing: Her Special Act|url=https://www.nytimes.com/2004/07/09/arts/art-review-disappearing-her-special-act.html|date=July 9, 2004|access-date=December 28, 2018|work=The New York Times|issn=0362-4331}}</ref> and the retrospective in the Haywart Gallery in London in 2013<ref>{{Cite web|url=https://www.southbankcentre.co.uk/blog/hayward-gallery-exhibition-trailer-ana-mendieta-traces|title=Hayward Gallery Exhibition Trailer: Ana Mendieta, Traces {{!}} Southbank Centre|access-date=December 28, 2018|website=www.southbankcentre.co.uk}}</ref> she is considered a pioneer of performance art and other practices related to body art and land art, sculpture and photography.<ref name=":1">{{Cite web|url=https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|title=Guerrilla Girls|last=Josefina|first=Pierucci|year=2017|pages=1, 5|access-date=March 23, 2018|language=es|archive-date=October 17, 2018|archive-url=https://web.archive.org/web/20181017203516/https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|url-status=dead}}</ref> She described her own work as ''earth-body art''.<ref name=":175">{{Cite news|last=O'Hagan|first=Sean|title=Ana Mendieta: death of an artist foretold in blood|url=http://www.theguardian.com/artanddesign/2013/sep/22/ana-mendieta-artist-work-foretold-death|date=September 21, 2013|work=The Guardian|access-date= June 10, 2020|issn=0261-3077}}</ref><ref name=":3">{{Cite journal|title=Ana Mendieta: "Pain of Cuba, Body I Am"|last=Cabañas|first=Kaira M.|year=1999|journal=Woman's Art Journal|
volume= 20|number= 1 (Spring – Summer, 1999)|pages=12–17|doi=10.2307/1358840|jstor=1358840}}</ref>

[[Tania Bruguera]] is a Cuban artist specialized in performance art and political art. Her work mainly consists of her interpretation of political and social topics.<ref name="hemispheric">{{cite web|url=http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|title=Tania Bruguera|access-date=May 27, 2020|author=Hemispheric Institute|date=2009|archive-date=October 5, 2016|archive-url=https://web.archive.org/web/20161005124055/http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|url-status=dead}}</ref>
She has developed concepts such as "conduct art" to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators. She also came up with "useful art", that it ought to transform certain political and legal aspects of society. Brugera's work revolves around power and control topics, and a great portion of her work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de Conducta in La Habana.<ref>{{cite web|url=http://www.taniabruguera.com/cms/608-0-GLOSSARY.htm|title=Glosario|access-date=May 27, 2020|author=Tania Bruguera|archive-date=February 21, 2020|archive-url=https://web.archive.org/web/20200221170400/http://www.taniabruguera.com/cms/608-0-GLOSSARY.htm|url-status=dead}}</ref><ref>{{Cite book|last=Pinto|first=Roberto|title=Ejercicio de Resistencia Tania Bruguera|year=2003|publisher=Torino|location=Turin, Italy|page=25}}</ref><ref>{{Cite book|last=Pinto|first=Roberto|title=Ejercicio de Resistencia Tania Bruguera|year=2003|publisher=Galeria Soffiantino|location=Turin, Italy|pages=25–26}}</ref>

[[File:Marta Minujín 1965 (2).jpg|left|thumb|Argentinean [[Marta Minujín]] during a performance art piece]]

[[Regina José Galindo]] is a Guatemalan artist specialized in performance art. Her work is characterized by its explicit political and critical content, using her own body as a tool of confrontation and social transformation.<ref>{{Cite web|url=https://puntadassubversivas.wordpress.com/2016/04/02/conversacion-con-regina-jose-galindo/|title=Conversaciones con Regina José Galindo|date=April 2, 2016|access-date=May 26, 2020}}</ref> Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them indigenous, farmers, women and children.<ref name=":0">{{Cite web|url=https://www.plataformadeartecontemporaneo.com/pac/woman-art-house-regina-jose-galindo/|title=Woman Art House: Regina José Galindo -|access-date=May 26, 2020|date=April 20, 2018|website=Plataforma de Arte Contemporáneo}}</ref> With her work, Galindo denounces violence, sexism (one of her the main topics is femicide), the western beauty standards, the repression of the estates and the abuse of power, especially in the context of her country, even though her language transgresses borders. Since her beginnings she only used her body as media, which she occasionally takes to extreme situations (like in ''Himenoplasty'' (2004) where she goes through a hymen reconstruction, a work that won the Golden Lyon in the [[Venice Biennale]]), to later have volunteers or hired people to interact with her, so that she loses control over the action.<ref name="c4ae0e89">{{Cite web|url=https://poetassigloveintiuno.blogspot.com.es/2012/08/7515-regina-jose-galindo.html|title=Poetas siglo XXI: Regina José Galindo|date=August 23, 2012 |access-date=June 5, 2020}}</ref>

== 1990s ==
[[File:Le pavillon de la Roumanie (55ème Biennale de Venise) (10168263944).jpg|left|thumb|Performance in the Romanian Pavilion of the Venice Biennial]] 
[[File:Hsieh- 5782-sm (5132854315).jpg|thumb|Exhibition by Chinese artist Tehching Hsieh with documentation of his first performance artworks]]

The 1990s was a period of absence for classic European performance, so performance artists kept a low profile. Nevertheless, Eastern Europe experienced a peak. On the other hand, Latin American performance continued to boom, as well as feminist performance art. There also was a peak of this discipline in Asian countries, whose motivation emerged from the [[Butō]] dance in the 1950s, but in this period they professionalized and new Chinese artists arose, earning great recognition. There was also a general professionalization in the increase of exhibitions dedicated to performance art, at the opening of the Venice Art Biennial to performance art, where various artists of this discipline have won the Leone d'Oro, including [[Anne Imhof]], [[Regina José Galindo]] or [[Santiago Sierra]].

[[File:Art Performance Center at Taitung University.jpg|thumb|Museum and centre specialized in performance art in Taitung University]]

=== Performance with political context ===
While the [[Soviet Bloc]] dissolved, some forbidden performance art pieces began to spread. Young artists from the former Eastern Bloc, including Russia, devoted themselves to performance art. Scenic arts emerged around the same time in Cuba, the Caribbean and China. "In these contexts, performance art became a new critical voice with a social strength similar to that of Western Europe, the United States and South America in the sixties and early seventies. It must be emphasized that the rise of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba and other places must not be considered secondary or an imitation of the West".<ref name="Montano">{{cite book|last1=Montano|first1=Linda M.|title=Performance artists talking in the eighties|publisher=University of California Press Berkeley|year=2000|location=Los Angeles, London|pages=479, 1|url=https://books.google.com/books?id=5Bl6wm-cV_oC&q=performance+art+1990s&pg=PA479|access-date=March 31, 2011|isbn=0-520-21022-0}}</ref>

=== Professionalization of performance art ===
In the Western World, in the 1990s, performance art joined the mainstream culture. Diverse performance artworks, live, photographed or through documentation started to become part of galleries and museums that began to understand performance art as an art discipline.<ref>{{cite book|last1=Targ Brill|first1=Marlene|title=America in the 1990s|publisher=Lerner Publishing Group|year=2009|pages=93, 1|location=Minneapolis|url=https://books.google.com/books?id=BNXeIFQScocC&q=performance|access-date=March 11, 2011|isbn=978-0-8225-7603-7}}</ref> Nevertheless, it was not until the next decade that a major institutionalization happened, when every museum started to incorporate performance art pieces into their collections and dedicating great exhibitions and retrospectives, museums such as the [[Tate Modern]] in London, the [[MoMA]] in New York City or the [[Pompidou Centre]] in Paris. From the 1990s on, many more performance artists were invited to important biennials like the [[Venice Biennale]], the [[Sao Paulo Biennial]] and the [[Lyon]] Biennial.

=== Performance in China ===
{{Main|Performance art in China}}

In the late 1990s, Chinese contemporary art and performance art received great recognition internationally, as 19 Chinese artists were invited to the Venice Biennial.<ref>{{Cite book|last=Berghuis|first=Thomas J.|title=Performance Art in China|date=2006|publisher=Timezone 8|location=Hong Kong|isbn=9889926598|page=52}}</ref><ref name="observer">{{cite news|author=Cooper, Rafi|url=https://www.theguardian.com/artanddesign/2008/jul/06/art.china|title=Cultural revolutionary|work=The Observer|location=UK|date=July 6, 2008|access-date=May 27, 2020}}</ref> Performance art in China and its history had been growing since the 1970s due to the interest between art, process and tradition in Chinese culture, but it gained recognition from the 1990s on.<ref name="yishu-online 1008">{{Cite web|url=https://yishu-online.com/browse-articles/?1008|title=Up Against the Wall: Contemporary Chinese Performance Art and the Great Wall|last=Chan|first=Shing-Kwan|date=September 2019|publisher=Yishu: Journal of Contemporary Chinese Art|volume=18|number=5|page=45}}</ref><ref name="Montano" /> In China, performance art is part of the fine arts education programme, and is becoming more and more popular.<ref name="yishu-online 1008" /><ref>{{cite web|url=http://www.wolseleymedia.com.au/AP-Ai-Weiwei.html|title=Ai Weiwei|publisher=wolseleymedia.com.au|year=2008|access-date=May 27, 2020}}{{Dead link|date=March 2022 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> In the early 1990s, Chinese performance art was already acclaimed in the international art scene.<ref>{{cite web|url=https://publicdelivery.org/he-yunchang/|title=He Yunchang, China|access-date=May 27, 2020|date=2014|publisher=Public Delivery}}</ref><ref name="yishu-online 1008" /><ref>{{Cite web|url=https://aaa.org.hk/en/collection/search/archive/li-xianting-archive-concept-21-21/object/performance-by-concept-21-at-the-great-wall-21-192555|title=Performance by Concept 21 at the Great Wall|access-date=May 27, 2020|website=Asia Art Archive}}</ref>

<gallery widths="200" heights="200">
File:Fitness culturel (Biennale 2013, Lyon) (10787512893).jpg|Performance art in the Lyon Biennale
File:Fitness culturel (Biennale 2013, Lyon) (10783977835).jpg|Performance art in the Lyon Biennale
File:Le pavillon de la Roumanie (55ème Biennale de Venise) (10168262204).jpg|Performance at the entrance of the Romanian Pavilion at the [[Venice Biennale]]
File:Table with Accumulator Beuys Tate Modern AR00603.jpg|Performative installation by [[Joseph Beuys]] in the [[Tate Modern]] of London
File:Re publica 2013 Tag 3 – Ai Weiwei (8735247120).jpg|Video installation with the Chinese artist [[Ai Weiwei]]
File:Documentation of Tehching Hsieh's project in NYC (1395277535).jpg|[[Tehching Hsieh]] exhibition in downtown New York City
File:Chien-Chi Chang-China Town Venezia Biennale-2009.jpg|China Pavilion at the Venice Biennale
File:Wang Xiaoshuai-2120.jpg|Portrait of [[Wang Xiaoshuai]]
File:Liu Xiaodong.jpg|[[Liu Xiaodong]] during a performance artwork
</gallery>

==Since the 2000s==
=== New-media performance ===
[[File:Einat Amir, Ideal Viewer, 2009.jpg|thumb|New media performance art, 2009]]

In the late 1990s and into the 2000s, a number of artists incorporated technologies such as the World Wide Web, digital video, webcams, and streaming media, into performance artworks.<ref>Steve Dixon, ''Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation'' (MIT Press, 2015), pp. 157ff. and pp. 457ff.</ref> Artists such as [[Coco Fusco]], [[Shu Lea Cheang]], and [[Prema Murthy]] produced performance art that drew attention to the role of gender, race, colonialism, and the body in relation to the Internet.<ref>Kelly Dennis, "Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy,” ''Paradoxa: International Feminist Art Journal'', Vol. 23 (2009), pp. 79–86. See separate chapters on Shu Lea Cheang and Prema Murthy in Mark Tribe and Reena Jana, ''New Media Art'' (Taschen, 2007).</ref> Other artists, such as [[Critical Art Ensemble]], [[Electronic Disturbance Theater]], and [[Yes Men]], used digital technologies associated with [[hacktivism]] and [[Interventionist art|interventionism]] to raise political issues concerning new forms of capitalism and consumerism.<ref>Nato Thompson (ed.), ''The Interventionists: Users' Manual for the Creative Disruption of Everyday Life'' (MIT Press, 2006), pp. 106ff, 117ff. See also the catalog for the 1998 Ars Electronica festival ''InfoWar'' (Springer, 1998).</ref><ref>{{Cite book|title=The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism|chapter=Video as Vindication for Performance|last=McEvilley|first=Thomas|publisher=McPherson & Company |year=2012|isbn=978-0929701929}}</ref>

In the second half of the decade, computer-aided forms of performance art began to take place.<ref>Anderson, Nate (2009), [https://arstechnica.com/web/news/2009/09/horrifically-bad-software-demos-become-performance-art.ars "Horrifically bad software demo becomes performance art"]</ref> Many of these works led to the development of [[algorithmic art]], [[generative art]], and [[robotic art]], in which the computer itself, or a computer-controlled robot, becomes the performer.<ref>{{cite journal |author=LaViers, Amy|date=May 23, 2019|title=Ideal Mechanization: Exploring the Machine Metaphor through Theory and Performance|journal=Arts|volume=8|issue=2|page=67|doi=10.3390/arts8020067|doi-access=free|arxiv=1807.02016}}</ref>

[[Coco Fusco]] is an interdisciplinary Cuban-American artist, writer and curator who lives and works in the United States. Her artistic career began in 1988. In her work, she explores topics such as identity, race, power and gender through performance. She also makes videos, interactive installations and critical writing.<ref>{{cite web |title=Coco Fusco {{!}} IDIS |url=https://proyectoidis.org/cocofusco/ |access-date=May 14, 2020}}</ref><ref name=":25" />

=== Radical performance ===
[[File:Пётр Павленский.jpg|thumb|[[Petr Pavlensky]] cutting his own ear in a political action in the [[Red Square]] of Moscow]]
[[File:Pussy Riot protest.jpg|thumb|Protest for the liberation of [[Pussy Riot]]]]
[[File:TVP & Pussy Riot in Santa Fe, NM.jpg|thumb|left|Pussy Riot during a performance with [[Tania Bruguera]]]]

During the 2000s and 2010s, performance artists such as [[Pussy Riot]], [[Tania Bruguera]], and [[Petr Pavlensky]] were prosecuted for a variety of artistic actions.<ref>{{cite news |last1=Blanco Alcalde |first1=Daniel |title=Artistas disidentes en el punto de mira |url=http://revistamito.com/artistas-disidentes-en-el-punto-de-mira/ |access-date=May 15, 2020 |work=Revista Mito |date=February 28, 2015 |archive-date=June 9, 2020 |archive-url=https://web.archive.org/web/20200609163638/http://revistamito.com/artistas-disidentes-en-el-punto-de-mira/ |url-status=dead }}</ref>

====Pussy Riot====
On February 21, 2012, as a part of their protest against the re-election of [[Vladímir Putin]], various women of the artistic collective Pussy Riot entered the [[Cathedral of Christ the Saviour]] of Moscow of the [[Russian Orthodox Church]]. They made the sign of the cross, bowed before the shrine, and started to interpret a performance compound by a song and a dance under the motto "Virgin Mary, put Putin Away". On March 3, they were detained.<ref>{{cite web |last1=Feigin |first1=Mark |title=Интервью &#124; Гости &#124; Русская служба новостей |url=http://rusnovosti.ru/guests/interviews/163402/198518/ |publisher=Rusnovosti.ru |access-date=June 9, 2020 |archive-date=October 29, 2013 |archive-url=https://web.archive.org/web/20131029195339/http://rusnovosti.ru/guests/interviews/163402/198518/ |url-status=dead }}</ref> On March 3, 2012, [[Maria Alyokhina]] and [[Nadezhda Tolokonnikova]],<ref>{{cite web|title=2 Pussy Riots Band Members assaulted in Moscow|url=http://news.biharprabha.com/2014/03/2-pussy-riots-band-members-assaulted-in-moscow/|work=IANS|publisher=News.biharprabha.com|access-date=June 30, 2020}}</ref><ref>{{cite web|author=Emma S |url=https://www.youtube.com/watch?v=dR7epvaLP00&list=PL5JKkhwUrWjMKta1poOg79LAjHN2M51cP  |archive-url=https://ghostarchive.org/varchive/youtube/20211211/dR7epvaLP00| archive-date=2021-12-11 |url-status=live|title=Masha Alyokhina: "Riot Days" &#124; Talks at Google |publisher=YouTube |date=November 3, 2017|access-date=June 30, 2020}}{{cbignore}}</ref> Pussy Riot members, were arrested by the Russian authorities and accused of vandalism. At first, they both denied being members of the group and started a hunger strike for being incarcerated and taken apart from their children until the trials began in April.<ref>{{cite news |title=Russian punk band Pussy Riot go on hunger strike in Moscow |url=http://www.theweek.co.uk/russia/russia-election/45722/russian-punk-band-pussy-riot-go-hunger-strike-moscow |work=[[The Week]] |date=March 6, 2012 |access-date=June 9, 2020 |archive-date=January 15, 2015 |archive-url=https://web.archive.org/web/20150115192226/http://www.theweek.co.uk/russia/russia-election/45722/russian-punk-band-pussy-riot-go-hunger-strike-moscow |url-status=dead }}</ref> On March 16 another woman, Yekaterina Samutsévitch, who had been previously interrogated as a witness, was arrested and accused as well.{{citation needed|date=December 2020}} 

On July 5, formal charges were filed against the group, along with a 2,800-page [[indictment]].<ref>{{cite web |title=Участниц Pussy Riot официально обвинили в хулиганстве по мотивам религиозной ненависти |url=http://www.rosbalt.ru/moscow/2012/06/04/988527.html |access-date=June 9, 2020 |archive-date=October 4, 2013 |archive-url=https://web.archive.org/web/20131004235812/http://www.rosbalt.ru/moscow/2012/06/04/988527.html |url-status=dead }}</ref> That same day they were notified that they had until July 9 to prepare their defense. In reply, they announced a hunger strike, pleading that two days was an inappropriate time frame to prepare their defense.<ref>{{cite web |last1=Earle |first1=Jonathan |title=Pussy Riot Suspects Go on Hunger Strike |date=July 5, 2012 |url=http://www.themoscowtimes.com/news/article/pussy-riot-suspects-go-on-hunger-strike/461594.html |access-date=June 9, 2020}}</ref> On July 21, the court extended their preventive prison to last six more months.<ref>{{cite news |url=http://in.reuters.com/article/russia-pussyriot-trial-idINL6E8IKGPU20120720|archive-url=https://web.archive.org/web/20160203052736/http://in.reuters.com/article/russia-pussyriot-trial-idINL6E8IKGPU20120720|url-status=dead|archive-date=February 3, 2016|last=Baczynska|first=Gabriela|title=Russia extends jailing of Pussy Riot activists |date=July 20, 2012 |work=Reuters |access-date=June 9, 2020}}</ref> The three detained members were recognized as political prisoners by the Union of Solidarity with Political Prisoners.<ref><span class="plainlinks">{{cite news|url= http://www.rosbalt.ru/moscow/2012/03/25/961247.html|title= Троих предполагаемых участниц Pussy Riot признали политзаключенными|newspaper= Росбалт|date= March 25, 2012|archive-date= September 12, 2012|access-date= June 9, 2020|archive-url= https://archive.today/20120912184257/http://www.rosbalt.ru/moscow/2012/03/25/961247.html|url-status= dead}} [http://translate.google.com/translate?sl=ru&u=http://www.rosbalt.ru/moscow/2012/03/25/961247.html Google translation.]</span></ref> [[Amnesty International]] considers them to be prisoners of conscience for "the severity of the response of the Russian authorities".<ref>{{cite web |url=http://www.amnesty.org/en/library/asset/EUR46/014/2012/en/c9edb950-30b6-4b90-a4d3-ddf8b97bc4c3/eur460142012en.htm|title=Russia: Release punk singers held after performance in church |date=April 3, 2012 |publisher=Amnesty International |access-date=June 9, 2020}}{{dead link|date=June 2020|bot=medic}}{{cbignore|bot=medic}}</ref>

[[File:Inauguración de la exposición "Los Padres" del artista Abel Azcona en Madrid - 2.jpg|right|thumb|The artist [[Abel Azcona]] during [[The Fathers]] at museum of [[Madrid]], 2018]]

====Others====
Since 2012, artist [[Abel Azcona]] has been prosecuted for some of his works. The demand that gained the most repercussion{{clarify|date=October 2020}} was the one carried out by the [[Archbishopric]] of [[Pamplona]] and [[Tudela, Navarre|Tudela]],<ref>{{cite news|last1=Europa|first1=Press|title=El Arzobispado de Pamplona-Tudela se moviliza contra la exposición de Abel Azcona|url=https://www.europapress.es/navarra/noticia-arzobispado-pamplona-tudela-moviliza-contra-exposicion-abel-azcona-20151124175916.html|access-date=June 10, 2020|work=Europa Press|date=November 24, 2015}}</ref> in representation of the [[Catholic Church]].<ref name="PHR9ab17">{{cite web |url= https://www.elespanol.com/cultura/arte/20170408/206979557_0.html|first1=Peio|last1= H. Riaño|publisher=El Español |title= Abel Azcona: "Tatuarme a Donald Trump en el ano no transforma nada"|date=April 9, 2017|access-date=June 10, 2020}}</ref> The Church demanded Azcona for desecration and blasphemy crimes, hate crime and attack against the religious freedom and feelings for his work ''[[Amen or The Pederasty]]''.<ref name="DD18">{{cite web|url=https://www.lamarea.com/2018/06/26/abel-azcona-prefiero-artistas-en-las-carceles-que-artistas-callados-en-su-estudio/|title=Abel Azcona: "Prefiero artistas en las cárceles que artistas callados en su estudio"|access-date=June 10, 2020|last1=Domínguez |first1=Dani|date=June 26, 2018|publisher=La Marea}}</ref><ref name=":31">{{cite news|last1=H. Riaño|first1=Peio|title=El artista Abel Azcona planta al juez que lo investiga por escribir "pederastia" con hostias consagradas|url=https://elpais.com/cultura/2019/02/05/actualidad/1549333154_791636.html|access-date=June 10, 2020|work=El País|date=February 5, 2019}}</ref> In 2016, Azcona was denounced for extolling terrorism<ref>{{cite news|title=Abel Azcona, de la profanación a la humillación de las víctimas del terrorismo|url=https://infovaticana.com/2016/12/20/abel-azcona-la-profanacion-la-humillacion-las-victimas-del-terrorismo/|access-date=December 24, 2019|work=Infovaticana|date=December 20, 2016}}</ref><ref>{{cite news|last1=Tecé|first1=Gerardo|title=Coños, antisistema y medias mentiras|url=https://ctxt.es/es/20160217/Politica/4337/Carmena-Zapata-ABC-El-mundo-Abel-Azcona-inda.htm|access-date=December 24, 2019|work=Contexto CTX|date=February 16, 2016}}</ref> for his exhibition ''Natura Morta'',<ref>{{cite web|url=http://rocaumbert.com/noticies/instal%C2%B7lacions-vives-a-lexposicio-naturaleza-muerta-dabel-azcona/|title=Instal-lacions vives a l´exposició Naturaleza Muerta d´Abel Azcona|access-date=December 24, 2019|date=2016|work=Museo Roca Umbert|last1=Roca Umbert|first1=Fábrica de las Artes|archive-date=August 11, 2020|archive-url=https://web.archive.org/web/20200811040144/http://rocaumbert.com/noticies/instal%C2%B7lacions-vives-a-lexposicio-naturaleza-muerta-dabel-azcona/|url-status=dead}}</ref> in which the artist recreated situations of violence, historical memory, terrorism or war conflicts through performance and hyperrealistic sculptures and installations.<ref>{{cite news|title=L'art viu, sobre la mort, d'Abel Azcona|url=https://www.somgranollers.cat/noticia/37652/lart-viu-sobre-la-mort-dabel-azcona|access-date=December 24, 2019|work=Cultura Granollers|date=April 10, 2017}}</ref>

In December 2014 [[Tania Bruguera]] was detained in [[La Habana]] to prevent her from carrying out new reivindicative{{clarify|date=October 2020}} works. Her performance art pieces have earned her harsh critiques, and she has been accused of promoting resistance and public disturbances.<ref>{{cite news|last1=Espejo|first1=Bea|title=Tania Brugera: "Cuba favorece hoy un arte fácil y superficial"|url=http://www.elcultural.com/revista/especial/Tania-Brugera-Cuba-favorece-hoy-un-arte-facil-y-superficial/35905|access-date=May 16, 2020|work=El Cultural|date=February 6, 2015}}</ref><ref>{{cite web |url=https://www.bbc.com/mundo/noticias/2015/01/150101_perfil_tania_bruguera_ig |title=Tania Bruguera, la artista que desafía al gobierno de Cuba |access-date=May 16, 2020 |author=BBC |date=January 2, 2015}}</ref> In December 2015 and January 2016, Bruguera was detained for organizing a public performance in the plaza de la Revolución of La Habana. She was detained along with other Cuban artists, activists and reporters who took part in the campaign ''Yo También Exijo'', which was created after the declarations of Raúl Castro and Barack Obama in favor of restoring their diplomatic relationship. During the performance ''El Susurro de Tatlin #6'' she set microphones and talkers{{clarify|date=October 2020}} in the Plaza de la Revolución so the Cubans could express their feelings regarding the new political climate. The event had great repercussion in international media, including a presentation of ''El Susurro de Tatlin #6'' in Times Square, and an action in which various artists and intellectuals expressed themselves in favour of the liberation of Bruguera by sending an open letter to Raúl Castro signed by thousands of people around the world asking for the return of her passport and claiming criminal injustice, as she only gave a microphone to the people so they could give their opinion.<ref>{{cite web|url=http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|title=Tania Bruguera|access-date=June 5, 2020|author=Hemispheric Institute|date=2009|archive-date=October 5, 2016|archive-url=https://web.archive.org/web/20161005124055/http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|url-status=dead}}</ref><ref>{{cite web|url=http://www.taniabruguera.com/cms/608-0-GLOSSARY.htm|title=Glosario|access-date=November 14, 2014|author=Tania Bruguera|archive-date=February 21, 2020|archive-url=https://web.archive.org/web/20200221170400/http://www.taniabruguera.com/cms/608-0-GLOSSARY.htm|url-status=dead}}</ref><ref>{{Cite book|last1=Pinto|first1=Roberto|title=Ejercicio de Resistencia Tania Bruguera|date=2003|publisher=Torino|location=Turin, Italy|page=25}}</ref><ref>{{Cite book|last1=Pinto|first1=Roberto|title=Ejercicio de Resistencia Tania Bruguera|date=2003|publisher=Galeria Soffiantino|location=Turin, Italy|pages=25–26}}</ref><ref>{{Cite book|last1=Corral|first1=María|title=Tania Bruguera|date=2005|isbn=0-9769449-0-1|editor=Vivian Lechuga|location=Chicago, Illinois|page=8}}</ref>

In November 2015 and October 2017 [[Petr Pavlensky]] was arrested for carrying out a radical performance art piece in which he set on fire the entry of the Lubyanka Building, headquarters of the Federal Security Service of Russia, and a branch office of the Bank of France.<ref>{{cite news|title=Russian Artist Pyotr Pavlensky Sentenced over Paris Bank Fire|url=https://www.artforum.com/news/russian-artist-pyotr-pavlensky-sentenced-over-paris-bank-fire-78313|access-date=May 16, 2020|work=ArtForum|date=January 15, 2019}}</ref> On both occasions he sprayed the main entrance with gasoline; in the second performance he sprayed the inside as well, and ignited it with a lighter. The doors of the building were partially burnt. Both times Pavlenski was arrested without resistance and accused of debauchery. A few hours after the actions, several political and artistic reivindicative videos appeared on the internet.<ref>{{cite web|last1=Jones|first1=Jonathan|title=Pyotr Pavlensky is setting Russia's evil history ablaze|url=http://www.theguardian.com/artanddesign/jonathanjonesblog/2015/nov/09/pyotr-pavlensky-is-setting-russias-evil-history-ablaze|work=The Guardian|date=November 9, 2015|access-date=February 24, 2020}}</ref>

[[Lia Garcia]], a [[Transfeminism|transfeminist]] performance artist from Mexico, who works under the stage name la Novia Sirena, uses themes of touch and vulnerability to highlight issues of gendered violence and [[transgender]] belonging. Frequently engaged in site specific spaces, In her piece, '''''Proyecto 10bis (2016-2017)''''' Garcia performed in El Reclusorio Norte, a prison located in [[Mexico City]], dressed as a [[quinceañera]], and danced with the inmates, using touch as a way to contest the spaces that are intended to separate the incarcerated from the rest of the population.<ref>Huitrón, Delgado, and Cynthia Citlallin. “Haptic TacticHypertenderness for the [Mexican] State and the Performances of Lia García.” ''TSQ: Transgender Studies Quarterly'' 6, no. 2 (May 1, 2019): 164–79. <nowiki>https://doi.org/10.1215/23289252-7348454</nowiki>.</ref>

=== Institutionalization of performance art / performance collecting processes ===
[[File:ArtistIsPresent.jpg|thumb|[[Marina Abramović]] performing ''The Artist Is Present'', [[MoMA]], New York, 2010]]

Since the 2000s, big museums, institutions and collections have supported performance art. Since January 2003, [[Tate Modern]] in London has had a curated programme of live art and performance.<ref>{{cite news|title=Tate Modern Performance. BMW Tate Live|url=https://revistalupita.art/expo/tate-modern-performance-bmw-tate-live/|access-date=May 11, 2020|work=Lupita. Arte de América Latina en Europa|date=2016}}</ref> With exhibitions by artists such as [[Tania Bruguera]] or [[Anne Imhof]].<ref>{{cite web|last1=Tate|first1=Modern|title=Anne Imnhof: Sex|url=https://www.tate.org.uk/whats-on/tate-modern/performance/bmw-tate-live|publisher=Tate Modern|date=2019|access-date=May 13, 2020}}</ref> In 2012 The Tanks at [[Tate Modern]] were opened: the first dedicated spaces for performance, film and installation in a major modern and contemporary art museum.

The [[Museum of Modern Art]] held a major retrospective and performance recreation of [[Marina Abramović]]'s work, the biggest exhibition of performance art in MoMA's history, from March 14 to 31, 2010.<ref>Kino, Carol (March 10, 2010). [https://www.nytimes.com/2010/03/14/arts/design/14performance.html?pagewanted=all A Rebel Form Gains Favor. Fights Ensue.], ''[[The New York Times]]''. Retrieved April 16, 2010.</ref><ref>{{cite news|title=Marina Abramovic: Performance y Polémica en el Moma|url=https://www.revistaarcadia.com/arte/articulo/marina-abramovic-performance-polemica-moma/21948|access-date=May 11, 2020|work=Revista Arcadia|date=March 30, 2010|archive-date=June 11, 2020|archive-url=https://web.archive.org/web/20200611004211/https://www.revistaarcadia.com/arte/articulo/marina-abramovic-performance-polemica-moma/21948|url-status=dead}}</ref> The exhibition consisted of more than twenty pieces by the artist, most of them from the years 1960–1980. Many of them were re-activated by other young artists of multiple nationalities selected for the show.<ref>{{cite news|last1=Cotter|first1=Holland|title=700-Hour Silent Opera Reaches Finale at MoMA|url=https://www.nytimes.com/2010/05/31/arts/design/31diva.html|access-date=May 11, 2020|work=[[The New York Times]]|date= May 30, 2010}}</ref> In parallel to the exhibition, Abramovic performed ''The Artist is Present'', a 726-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.<ref>{{cite news|url=http://www.huffingtonpost.com/yazmany-arboleda/bringing-marina-flowers_b_592597.html|title=SBringing Marina Flowers|last=Arboleda|first=Yazmany|author-link=Yazmany Arboleda|date=May 28, 2010|newspaper=The Huffington Post|access-date=June 16, 2010|archive-url=https://web.archive.org/web/20110822174846/http://www.huffingtonpost.com/yazmany-arboleda/bringing-marina-flowers_b_592597.html|archive-date=August 22, 2011}}</ref> The work is an updated reproduction of one of the pieces from 1970, shown in the exhibition, where Abramovic stayed for full days next to Ulay, who was her sentimental companion. The performance attracted celebrities such as [[Björk]], [[Orlando Bloom]] and [[James Franco]]<ref>{{cite news|last1=Bell|first1=Christopher|title=Review: 'Marina Abramović: The Artist Is Present' Is A Good But Conventional Doc On An Unconventional Artist|url=https://www.indiewire.com/2012/06/review-marina-abramovic-the-artist-is-present-is-a-good-but-conventional-doc-on-an-unconventional-artist-109309/|access-date=May 11, 2020|work=IndieWire|date=June 14, 2012}}</ref> who participated and received media coverage.<ref>[http://thoughtcatalog.com/2010/marina-abramovic-the-staring-woman-at-moma/ thoughtcatalog.com/2010/marina-abramovic]</ref>

Against the background of the institutionalisation of performance, the Bruxelles-based initiative A Performance Affair<ref>{{Cite web |last=Kerr |first=Liv Vaisberg, Will |title=APA • A Performance Affair • re:production, The Second Edition 2019 |url=https://aperformanceaffair.com/ |access-date=2022-09-12 |website=aperformanceaffair.com |language=English}}</ref> co founded by [[Liv Vaisberg]] and Will Kerr and the London-based format Performance Exchange<ref>{{Cite web |title=Home |url=https://www.performance-exchange.org/ |access-date=2022-09-12 |website=Performance Exchange |language=en}}</ref> inquire about the collectability of performance works. With The Non-fungible Body?, the Austrian museum and culture centre [https://www.ooekultur.at/event-detail/performance-festival-the-non-fungible-body?expired&fbclid=IwAR2-U8j6DMO50ByKptigw2mSRNce_mx-ERd4OJ0NbKTp7r-p1-P4kh-3HGk OÖLKG/OK] reflects upon recent developments in institutionalizing performance through a discursive festival format that was presented for the first time in June 2022.

<gallery widths="200" heights="200">
File:Detail of Facade of Guggenheim Museum with Yoko Ono Banner - Bilbao - Biscay - Spain (14434764509).jpg|Facade of the [[Guggenheim Museum in Bilbao]] with a [[Yoko Ono]] Banner
File:Shibboleth - Tate Modern 2007.jpg|Work by [[Doris Salcedo]] in the [[Tate Modern]] in London, 2007
File:Marina 1 1.jpg|[[Marina Abramović]] during her seven performances in ''Seven Easy Pieces'' (2005), in the [[Solomon R. Guggenheim Museum]]
File:Marina Abramović, The Artist Is Present, 2010Marina Abramović, The Artist Is Present, 2010 (4422516908).jpg|Zenith shot of the performance ''The Artist Is Present'' in the [[Museum of Modern Art]]

File:Marina Abramović. The Cleaner.jpg|Work by [[Marina Abramović]] reproduced for the retrospective in [[Bologna]], Italy, 2018
File:128 aktion 22.10.09 613.jpg|[[Hermann Nitsch]] carrying out a performance in his homonymous museum (2009)
File:Fleeting-glimpse-bryan-zanisnik.jpg|Performance by Bryan Zanisnik, called ''When I Was a Child I Caught a Fleeting Glimpse'', 2009
File:Muestra Yoko Ono- Quito4.jpg|Exhibition dedicated to [[Yoko Ono]] in the Cultural Metropolitan Centre of [[Quito]] (2018)
</gallery>

=== Collective revindication performance art ===
[[File:Un violador en tu camino - ensayo en la Alameda Central de la Ciudad de México.jpg|300px|thumb|''[[A Rapist in Your Path]]'' in the main street of [[Mexico City]]]]
In 2014 the performance art piece ''[[Mattress Performance (Carry That Weight)|Carry That Weight]]'' is created, also known as "the mattress performance". The artist behind this piece is [[Emma Sulkowicz]] who, during her end of degree thesis in visual arts in the [[Columbia University]] in the city of New York City. In September 2014, Sulkowicz's piece began, as she started carrying her own mattress around the [[Columbia University]] campus.<ref>{{Cite news|url=https://www.thecut.com/2019/10/did-emma-sulkowicz-mattress-performance-get-redpilled.html|title=Did Emma Sulkowicz Get Redpilled? At the very least, she's found a new social set.|author=Sylvie McNamara|date=October 28, 2019|work=The Cut|access-date=February 21, 2020}}</ref> This work was created by the artist with the goal of denouncing her rape in that same mattress years before, in her own dormitory, which she reported and was not heard by the university or the justice,<ref name=ignore>{{cite news|url=https://www.washingtonpost.com/news/morning-mix/wp/2014/10/29/its-hard-to-ignore-a-woman-toting-a-mattress-everywhere-she-goes-which-is-why-emma-sulkowicz-is-still-doing-it|title=It's hard to ignore a woman toting a mattress everywhere she goes, which is why Emma Sulkowicz is still doing it|newspaper=[[The Washington Post]]|date=October 29, 2014| first1=Soraya Nadia| last1= McDonald}}</ref> so she decided to carry the mattress with her for the entire semester, without leaving it at any moment, until her graduation ceremony in May 2015. The piece generated great controversy, but was supported by a bunch of her companions and activists who joined Sulkowicz multiple times when carrying the mattress, making the work an international revindication. Art critic Jerry Saltz considered the artwork to be one of the most important of the year 2014.<ref>{{cite news|url=https://www.vulture.com/2014/12/19-best-art-shows-of-2014.html|title=The 19 Best Art Shows of 2014|newspaper=[[Vulture (website)|Vulture]]|date=December 10, 2014|first=Jerry|last=Slatz}}</ref>

In 2019 the collective performance art piece ''[[A Rapist in Your Path]]'' was created by a feminist group from [[Valparaíso]], Chile named [[Lastesis]], which consisted of a demonstration against the women's rights violations in the context of the [[2019–2020 Chilean protests]].<ref name=":23">{{Cite web|url=https://verne.elpais.com/verne/2019/11/28/mexico/1574902455_578060.html|title=Ellas son las chilenas que crearon 'Un violador en tu camino'|access-date=November 30, 2019|last1=Rodríguez|first1=Darinka|date=November 28, 2019|website=Verne}}</ref><ref>{{Cite web|url=https://cnnespanol.cnn.com/video/violador-camino-feministas-musica-protestas-willy-arteaga-cacerolazo-sinfonico-pkg-digital-original/|title=Las protestas virales al ritmo de la música|access-date=November 30, 2019|first1=Daniela |last1=Patiño|date=November 30, 2019|website=CNN}}</ref><ref name=":22">{{Cite news|title="El violador eres tú": el potente himno feminista nacido en Chile que da la vuelta al mundo|url=https://www.bbc.com/mundo/noticias-america-latina-50610467|date=November 30, 2019|access-date=November 30, 2019|author=BBC}}</ref> It was first performed in front of the Second Police Station of the [[Carabineros de Chile]] in [[Valparaíso]] on November 18, 2019.<ref name="RedGol">{{Cite web|url=https://redgol.cl/tiempolibre/Las-Tesis-Intervencion-viralizada-del-colectivo-feminista-se-expande-por-Chile-y-el-mundo-20191129-0042.html|title=Las Tesis: Intervención viralizada del colectivo feminista se expande por Chile y el mundo|access-date=June 5, 2020|website=RedGol|date=November 29, 2019 }}</ref> A second performance done by 2000 Chilean women on November 25, 2019, as a part of the [[International Day for the Elimination of Violence against Women]], was filmed and became viral on social media.<ref name=":3b">{{Cite web|url=https://larepublica.pe/mundo/2019/11/27/chile-colectivo-lastesis-el-violador-eres-tu-el-performance-contra-la-violencia-de-genero/|title="Un violador en tu camino", el canto viral de un colectivo feminista chileno contra la violencia de género [VIDEO]|access-date=June 5, 2020|date=November 28, 2019|website=larepublica.pe}}</ref> Its reach became global<ref name="excelsior">{{Cite web|url=https://www.excelsior.com.mx/global/el-mundo-se-une-al-grito-de-un-violador-en-tu-camino-asi-las-protestas/1350502|title=El mundo se une al grito de 'Un violador en tu camino'; así las protestas|access-date=June 5, 2020|date=November 30, 2019|website=Excélsior}}</ref><ref name=":8">{{Cite web|url=https://www.lavanguardia.com/vida/20191130/471961599764/un-violador-en-tu-camino-chile-las-tesis-mexico-feministas.html|title=El cántico chileno de 'Un violador en tu camino' retumba en todo el mundo|access-date=June 5, 2020|date=November 30, 2019|website=La Vanguardia}}</ref> after feminist movements in dozens of countries adopted and translated the performance for their own protests and demands for the cessation and punishment of femicide and sexual violence, amongst others.<ref name="cnnchile">{{Cite web|url=https://www.cnnchile.com/mundo/un-violador-en-tu-camino-lastesis-videos-mundo_20191129/|title="Un violador en tu camino": Himno feminista de Lastesis es interpretado en todo Chile, América Latina y Europa|access-date=June 5, 2020|website=CNN Chile}}</ref>

<gallery widths="200" heights="200">
File:Emma Sulkowicz, Mattress Performance, 19 May 2015 (cropped).JPG|Companions of [[Emma Sulkowicz]] and the artist herself carrying the mattress to the graduation as a complaint
File:Mattress Performance rules of engagement.jpg|Sulkowicz with the instructions for her performance in the [[Columbia University]]
File:Mattress Performance (Carry That Weight), 10 September 2014.jpg|Part of Sulkowicz's performance, an action called "Llevemos el peso entre todas" (''Carry That Weight Together'')
File:Emma Sulkowicz, 14 December 2014.jpg|Sulkowicz's portrait in one of the presentations of the work
File:Roberta Smith, Emma Sulkowicz, 14 December 2014.jpg|[[Roberta Smith]], ''New York Times'' [[art critic]] (left), discussing ''Mattress Performance'' with Sulkowicz, [[Brooklyn Museum]], December 14, 2014
File:Un violador en tu camino, performance Oaxaca 2019.jpg|Mexican interpretation of ''[[A Rapist in Your Path]]'' in [[Oaxaca]], November 27, 2019
File:El violador eres tú, Santiago 20191219 36.jpg|''A Rapist in Your Path'' presented in the context of the [[2019–2020 Chilean protests]]
File:Un violador en tu camino Lima, Perú.png|Peruvian interpretation of ''A Rapist in Your Path'' in Lima, December 12, 2019
File:Estado violador.jpg|''A Rapist in Your Path'' presented in the context of the 2019–2020 Chilean protests
File:"el violador eres tú".jpg|A child intervening during the performance of ''A Rapist in Your Path''
</gallery>

==See also==
{{div col|colwidth=30em}}
* [[ART/MEDIA]]
* [[Classificatory disputes about art]]
* [[COUM Transmissions]]
* [[Danger music]]
* [[Digital Live Art]]
* [[Flash mob]]
* [[Graphic arts]]
* [[Guerrilla theatre]]
* [[List of performance artists]]
* [[Living statue]]
* [[New media art]]
* [[Noise music]]
* [[Poetry slam]]
* [[Radio drama]]
{{div col end}}

==References==
{{Reflist}}

==Bibliography==
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* {{cite book |last1=Fischer-Lichte |first1=Erika |last2=Wihstutz |first2=Benjamin |year=2018 |title=Transformative Aesthetics |publisher=Routledge |location= Oxon and New York |isbn=978-1-138-05717-3}}
* [[Roselee Goldberg|Goldberg, Roselee]] (1998) ''Performance: Live Art Since 1960''. Harry N. Abrams, NY NY. {{ISBN|978-0-8109-4360-5}}
* Goldberg, Roselee (2001). ''Performance Art: From Futurism to the Present'' (World of Art). Thames & Hudson
* Goldberg, Roselee (2018) Performance Now: Live Art for the 21st Century, London: Thames & Hudson, {{ISBN|978-0-500-02125-5}}.
* Gómez-Peña, Guillermo (2005). ''Ethno-techno: Writings on performance, activism and pedagogy''. Routledge, London. {{ISBN|0-415-36248-2}}
* Jones, Amelia and [[Adrian Heathfield|Heathfield, Adrian]] (eds.) (2012), ''Perform, Repeat, Record. Live Art in History''. Intellect, Bristol. {{ISBN|978-1-84150-489-6}}
*Phelan, Peggy: ''Unmarked. The Politics of Performance.'' Routledge, London 1993. {{ISBN|978-0-415-06822-2}}
* Rockwell, John (2004). "Preserve Performance Art?" ''New York Times'', April 30.
* Schimmel, Paul (ed.) (1998). ''Out of Actions: Between Performance and the Object, 1949–1979''. Thames and Hudson, Los Angeles. Library of the Congress NX456.5.P38 S35 1998
* Smith, Roberta (2005). "Performance Art Gets Its Biennial". ''New York Times'', November 2.
* Best, Susan, "The Serial Spaces of Ana Mendieta" Art History, April 2007 https://doi.org/10.1111/j.1467-8365.2007.00532.x
* Best, Susan, "Ana Mendieta: Affect Miniatiarizatin, Emotional Ties and the Silueta Series," Visualizing Feeling: Affect and the Feminine Avant-Garde (London: I B Tauris, 2011) 92–115 {{ISBN|978-1-78076-709-3}}
* {{cite news |last=Del Valle |first=Alejandro |title=Primitivism in the Art of Ana Mendieta |url=https://repositori.upf.edu/handle/10230/27026 |access-date=July 8, 2017 |year=2015 |publisher=PhD. Universitat Pompeu Fabra}}
* [https://web.archive.org/web/20140513211101/http://www.upf.edu/ciap/es/miembros/alejandro_delvalle.html Del Valle, Alejandro. "Ana Mendieta: Performance in the way of the primitive". ''Arte, Individuo y Sociedad'', 26 (1) 508–523]
* [https://web.archive.org/web/20080921122044/http://www.tfaoi.com/aa/5aa/5aa9.htm "Ana Mendieta: Earth Body, Sculpture and Performance 1972–1985."] Hirshhorn Museum and Sculpture Garden. Traditional Fine Arts Organization, Inc.
* [https://web.archive.org/web/20120922033437/http://archive.newmuseum.org/index.php/Detail/Entity/Show/entity_id/1282 Ana Mendieta: New Museum archive]
* Van Langendonck, Katleen (2024), The Art of Performance: 25 conversations, Royal Academy of Fine Arts, ISBN 9789490521646

==External links==
{{Commons category|Performance art}}
* [http://www.bris.ac.uk/theatrecollection/liveart/liveart_archivesmain.html Live Art Archives at the University of Bristol Theatre Collection]
* [http://dreher.netzliteratur.net/2_Performance_Kunst_Titel.html Thomas Dreher]: Intermedia Art: Performance Art (most articles in German)
* "[https://www.aci-iac.ca/art-books/kiss-tell/overview/ Transgressive and Experimental Performances]" in Kristen Hutchinson's ''[https://www.aci-iac.ca/art-books/kiss-tell/ Kiss & Tell: Lesbian Art & Activism]'', 2025. Toronto: Art Canada Institute. 

{{Performance art|state=expanded}}
{{Westernart}}
{{Avant-garde}}
{{Authority control}}

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[[Category:Performance art| ]]
[[Category:1969 neologisms]]
[[Category:Contemporary art movements]]
[[Category:Performing arts]]
[[Category:Theatre]]
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[[Category:Postmodern theatre]]
[[Category:The arts]]