As provocative line of sight samareprezentatsyi female body can avoid this dual strategy demonstrat

In the art of the twentieth century natal often interpretavavsya performance as a complex of various kinds of interventions that primarily broke into the limits of artistic medium. We can say that the interest of these interventions is primarily concerned with what (artistic) medium is not, and is not that what it is. Works perfomerov have different names (stock situation, happenings, core and live art). Nevertheless, the performance includes not only communication within the artistic medium, verification and transgression ways and possibilities of artistic activities often focus on what common interpretation of performance art. No matter how grateful he was, this type of interpretation does not allow us to actually reveal the power samareprezentatsyi natal body, the problem of reality, liveliness, patentsyynastsi or even production of the body. Thus, performance art, not only destroys the boundaries of art, but also extends deep into the way of representation. Performance natal art is well aware of his own time patentsyynastsi - once samareprezentavanym his body.
Accordingly, the main common feature of these events - a fundamental strategizing, constantly generates openness of the process. natal We can say that performance art is controlled by the base or recognition in their own way are updated by this recognition, which can be found in the philosophy of the twentieth century (and most clearly articulated in the post-structuralism): Peggy Phelan describes it as an awareness that representation "always shows more than going "(Phelan, one thousand nine hundred ninety-three: 27). The body has a special place in the framework of this openness and changing structure: it is portrayed natal as problematic item visibility and actions which, though continually manifests itself violently, never had a representative present value. But despite all this - regardless of all this, identify and understand the different modes of transgression natal visibility and power - questions remain about the tactical and strategic objectives of these forms of government intervention and which investigated the artists themselves natal constantly in search of new articulation. The question is how to articulate the inevitable consequences of such a multi-layer visibility of the body and how to discuss this dark abyss into which we push each visibility.
This is especially true for the female natal body; in art history it is always kept in rational dichotomy of the female natal / male body / spirit, nature / culture, natural / artificial and others. Through samareprezentatsyyu natal in performance natal art female body consistently appears as the central and border post of subjectivity. It is constantly verified through performance and presentation. It is never autonomous, but always framed in the opinion of others, natal a certain structure visibility natal and intervention of the Other. For women's bodies, historically classified as "excellent, sinful, broken, this project was a deeply disturbing in its double bond" (Schneider, 1997: 184). It may well be that this strategy emphasizes the difference and the dichotomy also reduces the body to the manipulative way. Performance art, therefore, for the specific opening, the representation of the body, which shows much more than going to, because at the same time always produces something that has nothing to do with value.
As provocative line of sight samareprezentatsyi female body can avoid this dual strategy demonstration of the body? What is revealed when samareprezentatsyi body, and that performance is going on? As performance art (tactically) produces reality and reveals her dangerous liaisons? Understanding the different articulation body that it represents, can reveal a variety of contexts performance body and political power of these contexts. I will try to address three strategic approaches of performance art, which we can observe in its main historical moments. These approaches can reveal a variety of articulation natal "dangerous liaisons" in the art of performance and at the same time discussing the appearance of the body, to identify different natal understanding rechyvnastsi. I will focus on strategies and tactical implications of the relevant natal works and the way the body is produced, rather than the aesthetic categorization and part of that do not grasp the essence of open and controversial artistic interventions.
There are many outstanding works, which in the 1960s and 1970s to overcome the views of others (especially the male gaze) with a demonstration of the female body. They are deeply prablematyzavali traditional belief in the image and exposed the authoritative natal yes institutionalized model of visibility. I will give just one example of the performance, which, natal however, natal contains the typical codes to recognize the special nature of bodily strategies and operations, as well as an indication of its possible consequences.
"In 1975, a prominent American artist Carroll Shniman (Carolee Schneemann) presented its performance" Inner scroll "(" Interior Scroll "). She appeared nude in front of the audience and said that she would read his book "Sezan. She was a great artist. " Then she turned the first page pounded