#action art

[ikleyvey]

Some Anima Squad graphic illustration I made

[larz-barz]

:D

IM SO PROUD OF THISSSS

@kokushibosbestie HEHEHEHEHE

[ryaartt]

This makes sense to me

[garethschweitzer]

Otto Muehl

[anonymouseii]

DEKU IS GONNA KICK YOU IN THE NUTS

[fireopal-tash]

Self-loathing 💔

Click the images for better quality

[tepi666]

Gagumon fighting stand

Trade with

gmz_SUPER on twitter

[deviflowero]

[saddayfordemocracy]

Yan Zhengxue (1944–2024)

Prominent Chinese dissident artist Yan Zhengxue passed away in Beijing on May 28 at 3 a.m. at age 80. Yan had suffered a cerebral thrombosis last year, after his health had been severely damaged by years of persecution, detention, and torture.

Yan Zhengxue was born on January 11, 1944, in Haimen, Taizhou, Zhejiang Province. He was admitted to the Affiliated Middle School of Zhejiang Academy of Fine Arts. In 1965, he left the Academy and traveled around China trying to find his way as an artist. His first solo exhibition was at the National Art Museum of China in 1988.

In 1989, Yan became part of the Yuanmingyuan Art Village and specialized in “action art” performances through which he denounced the injustice of the CCP system and the repression of the students in the June 4 Incident on Tiananmen Square. He was arrested and imprisoned in Beidahuang Prison. As much as he could, he continued to create in jail artwork and to keep a journal that became famous.

Released, he was arrested again more than ten times, spent years in labor camps, and as he reported himself was repeatedly tortured. He used documents from his trials and detention to create more action art works. He also created sculpture portraits of other dissidents, including large busts of Lin Zhao and Zhang Zhixin, both female activists executed under Mao's Dictatorship.

His brother died in 2013 in a suspicious car incident, with fellow dissidents believing he had been assassinated by state security as a warning to the artist.

Rest in Power !

[amperage]

CALL FOR APPLICATIONS  PROGRAMMING 2025-2026 Call opening : February 1, 2024 Closing date : March 31, 2024

Active in Québec since 1982, Le Lieu, centre en art actuel, brings together installation, performance, manœuvre, audio art, sound poetry, video and other explorations of the vast field of action art. The center's programming integrates activities and operations related to what are now recognized as interdisciplinary, ephemeral and relational aesthetic practices. 

For its 2025-2026 program, Le Lieu is looking for project proposals that explore the different relationships forged between the work and the gallery. Whether processual/evolutionary exhibitions or other explorations of the potential for occupying a space, we wish to question what a gallery can offer in the dissemination and actualization of works of performance art, action art and interdisciplinary practices (including various archival, sociological, scientific blends, etc.). With this call, Le Lieu aims to present practices and exhibitions that consider action as the foundation of the proposed exhibition, without limiting itself solely to the presentation of archives.

The call is open to local, national and international artists, collectives and curators of all ages and levels of experience. Le Lieu pays exhibition fees at the recommended CARFAC rate for the 3-week exhibition project. An additional fee will be granted for the performative, discursive or workshop proposal. We cannot guarantee reimbursement of national and international travel expenses, but letters of support will be written to assist in the search for funding.

Le Lieu aims to create a diversified program that reflects current thinking on the arts. This is why, in addition to occupying the gallery space, selected artists, curators or collectives are invited to integrate a discursive or performative component into their project. 

All submissions must include : - A short statement of approach (250 words max.) ; - An exhibition project description (max. 500 words) ; - A curriculum vitae (max. 3 pages) ; - A maximum of 20 numbered images and/or a link to video extracts (youtube, vimeo, wetransfer) of 5-10 minutes maximum ; - A detailed list of your supporting material.

INFORMATION : - The call is open to artists, collectives and curators of all ages and levels of experience ; - The call is open to local, national and international artists, collectives and curators ; - Letters of support will be drawn up for selected international artists, collectives and curators, with the aim of securing a grant to cover their travel costs ; - Le Lieu pays exhibition fees at the recommended CARFAC rate for the 3-week exhibition project ; - An additional fee will be granted for the performative and/or discursive proposal. - A map of the gallery is available on our website ; - Submissions will be evaluated by a committee of peers ; - All applicants will receive confirmation of receipt and a reply by mid-June.

If you have any questions, please do not hesitate to contact us at programmation@inter-lelieu.org. Applications can be submitted to the same address, specifying "call for applications 25-26" in the subject line. 

[hotcomicstv]

Blades & Lazers explained 

[i12bent]

Lene Adler Petersen (b. Jan. 13, 1944) is a Danish artist, trained at Det Jyske Kunstakademi and the Royal Academy in Copenhagen in the 1960s. She and her husband Bjørn Nørgaard were leading members of the Eks-skolen group and did happenings and action art in all media, including film, throughout the 70s.

In the 80s she spent time in New York, developing a Neo-Expressionist style and drawing inspiration from Mexican murals and ceramics. She did serial art, such as the example here:

Indendøre/Indoors, 1982 - oil tempura on canvas (SMK)

[duoscopic]

'En Hombros de Gigantes', performance by Verónica Ruth Frías

Verónica stands in front of the Plaza de Rastendias, wearing a bright red dress and holding a glass - reminiscent of all the blood of Cuban Santeria - that Ana Mendieta used to protest the atrocities committed against her. Simply talking about him or them: the collection of contemporary art books, the art that bears the name of the exhibition, for example the Taschen series.

Like a mountain on a tightrope, the artist seeks balance on the shelf with a deep and proud gaze, placing it in the plot as a metaphor for the uncertainty in the face of forgetting half of world history. Verónica continues the endless fight led by women who always know who they are: human beings.

[goudapatty]

The main crew from blue flavor I love bloom and mono coloring

[paintedcrows]

Did anyone tell Ford (bonus doodles: Family Movie Night, 70s Classics)