The Routledge Companion to Performance Art

Performance Art in Context, Performance Art in Motion
Lucian O’Connor

SECTION I: Global Emergences

Introduction to Section One

1. Situating Live Art Globally
Jennie Klein

2. The “Lives” of Performance Art in 1960s Japan: Kōi (Acts) and Information Operations
Reiko Tomii

3. Benjamin Patterson Inside and Outside of Fluxus
Christopher M. Reeves

4. Chilean Conceptualism and Performance Art Under Dictatorship
Ciclón Olivares

5. A Short Genealogy of Performance Art in Australia
Anne Marsh

6. Aotearoa New Zealand Performance Art
Christopher Braddock, Ioana Gordon-Smith, Layne Waerea, and Victoria Wynne-Jones

7. Africa on the Move
Serge Olivier Fokoua

8. Performance Art in East-Central Europe
Amy Bryzgel

9. Tattoos, Performance Art, and Protest
Jess Xiao Long

Curated Conversation

10. Performance, Politics, and Humanitarian Actions
Chumpon Apisuk, Nivi Chawda, and Jennie Klein

11. Towards a New History of Post-Soviet Russian Performance Art: Liudmila Gorlova and the Aesthetics of Care
Joanna Matuszak

12. Bodies-in-Extension in the Nordic Countries: Towards an Affective Understanding of Relation in Contemporary Performance Art
Tina Mariane Krogh Madsen

13. The Body Politic: Performance Art as Resistance and Transformation in Ireland
EL Putnam

SECTION II: Unsettled Performance

Introduction to Section Two

14. Embodiments, Resistances, and Collectivities
Natalie Loveless

15. Embodiment Claims for Performance Art
Catherine M. Soussloff

16. When We(I) Walk In… A Reflection on Relations and the Affective Weight of Navigating Performance Spaces
Mũkonzi Mũsyoki

17. Breaking Trail: You Don’t Really Know How Performance Art/Bodies are Vulnerable until Someone Tells You; and I Don’t Know How to be Sad cuz I Might be Sad for 500 Years and I Can’t Waste Time — An Indigenous Performance Artist Confessional (With Annotations and Reflections)
Peter Morin

18. Toward an Acknowledgement of Embodied Lexicons of Performativity
Cheryl L’Hirondelle

19. Like the wildflowers and groundsquirrels: Relational Reflection Across Time, Geographies, and Embodied Gesture
Leah Decter

20. Transgression and Stereotype in Contemporary Performance Art
Elif Su Yılmaz

21. In Between Queer and Performance
Amelia Jones

22. Hope on a Blank Paper: The White Paper Revolution and the Performance of Politics
Meiling Cheng

23. The Political Promises of Performance Art and NFTs: Tactics of Feminist Collectivities of Resistance
Ali Na and Keren Zaiontz

Curated Conversation

24. The Queer Art of Collectivity
Allyson Mitchell, Deirdre Logue, and Natalie Loveless

Curated Conversation

25. Para-Institutional Sites of Resilience
Erin Manning, Brian Massumi, and Natalie Loveless

Curated Conversation

26. Performance, Poetry, and Politics
Beth Stephens, Annie Sprinkle, and Natalie Loveless

SECTION III: Curation, Documentation, and the Archives

Introduction to Section Three

27. Interfacing Performance Art
Lucian O’Connor

28. The Other History of Performance Art’s History
Joshua Takano Chambers-Letson

29. Dematerialization and Politicization of the Exhibition in Yugoslavia
Ivana Bago

30. Contexts, Ideas, and Futures of Performance Art in Finland
Tero Nauha

31. What Is a Performance Document a Document For? Reflections on Ten Years of Emergency Index
Yelena Gluzman

Curated Conversation

32. Vulnerability in Process, Radical Empathy, and the Aftermath
Nao Bustamante and Lucian O’Connor

Curated Conversation

33. Transformations and Openings for Native American Performance
Paul Chaat Smith and Lucian O’Connor

34. A Basket and a Dancer: Activating Archives and Practicing Repatriation Otherwise
Gwyneth Shanks

35. Empty Stages, Crowded Studios, Networked Bodies: ADAM’s East Asian Perspectives on Contemporary Performance
Freda Fiala

Curated Conversation

36. Inviting and Promising
Katie Brewer Ball and Emily Johnson

37. Active Archives. On Performance Curatorial Research and Historiographic Method
Megan Hoetger

Curated Conversation

38. On Liveness, Blackness, Documentation, and Becoming
Tavia Nyong’o and Lucian O’Connor

SECTION IV: Performance Documents From the Field

Introduction to Section Four

39. Notes from the Performance Art Sector
Graciela Ovejero Postigo and Jennie Klein

Constellation 1: Special Collection From South America

40. RENAMING UTOPIA: Peras de Olmo – ARS CONTINUA/House-Lab: Exhibition Space: Residency: Archive. Ciudad Autónoma de Buenos Aires. ARGENTINA
Graciela Ovejero Postigo

41. Action Art in Bolivia
Alejandra Dorado Cámara

42. Laboratorio Abierto de Performance (LAP): Self-Managed Experimentations and Encounters for Performance Artists
Jazmin Ramirez

43. PerfoArtNet as a Center of Creative Thought for Social Transformation
Fernando Pertuz

44. Testimony: Body-Action and Shared Experiences from elgalpon.espacio
Jorge Baldeón, Diana Daf Collazos, Lorena Lo Peña, and Liliana Albornoz

45. PERPENDICULAR
Wagner Rossi Campos

46. Acciones al Margen/Actions on the Margin: A Decade of Performance
Neryth Yamile Manrique Mendoza

47. Performance in Ecuador: Actions to Revisit
Albeley Rodríguez Bencomo and Fernando Falconí

48. Walls That Contain Me and Streets That I Walk: Public Space Performance in Paraguay
Sandra Dinnendahl López

49. Affective Cartographies of Perfo in Uruguay, 2000–2021
Noel Langone and Magalí Pastorino

50. Mapping Marginal Artistic Performance Practices in Venezuela
Aidana María Rico and Nel Acosta Bravo

51. Performance Art in Córdoba, Argentina: Artists – Organizations
Soledad Sánchez Goldar

52. Notes about the CuerpAs Festival (2016–2020): Discussions, Inflections, and Resistances
Marla Freire Smith

53. Performance and Artistic Experimentation in Montevideo in the Sixties: Teresa Vila’s Thematic Environments and Teresa Trujillo’s Liquidation of an Audience…
Elisa Pérez Buchelli

Constellation 2: Transnational Proliferations

54. Self Performance Art Meetings (SPAM): A Clandestine Communal Self-Study in Performance Art Through Praxis and Reflection in Singapore’s Public Spaces
Daniela Beltrani

55. Drifting, Floating, Standing: Sea as Primal Matter in Site/Performance Art
Bill Psarras

56. At the Threshold Between Rememberings and Forgettings
champoy

57. Post-Internet Performance From Aotearoa New Zealand
Victoria Wynne-Jones

58. Mobius and Performance Art in Boston
Marilyn Arsem

59. About Performance Art Bergen (PAB)
Anette Friedrich Johannessen

Curated Conversation

60. Out of Site Chicago: Creating Space for Local and Global Communities
Carron Little and Jennie Klein

Curated Conversation

61. Out of Site Chicago: Rites of Passage
Dimple B. Shah, Jennie Klein, and Nivedita Chawda

Curated Conversation

62. Out of Site Chicago: Immediacy and Confrontation in Performance Art
Odun Orimolade and ieke Trinks

63. Art Action in Quebec, Canada
Francis O'Shaugnessy

64. Expressing the “Unspeakable”: Performance and the Greek “Crisis”
Christiana Galanopoulou

65. Under the Cobblestones, the Oceans: Performing the Colonies From the Capital City, A Retelling of Nuit Blanche 2024: Polygonal/e
Claire Tancons

Biography

Lucian J. O’Connor (Lead Editor), Associate Professor, Humanism and Bioethics, Western University of Health Sciences, Pomona, California.

Graciela Ovejero Postigo, Founder-director, Peras de Olmo – ARS CONTINUA, Constelaciones Decoloniales en Arte-Acción, and Cine+Perfo International Festival, Buenos Aires, Argentina.

Natalie Loveless, Professor, Contemporary Art and Theory, University of Alberta, Edmonton, Alberta.

Jennie Klein, Professor, Art History, Ohio University, Athens, Ohio.