Understanding the Power of Performance Art
by Sorcha Keeve
Majority of people tend to stick up their nose at the concept of performance art; particularly as modern art is evolving constantly to be more than just paintings hung in a gallery. Anything that defies traditional ideals of what art should be or look like has resulted in large debates over modernity, with works being widely hated and disregarded. However, what is little comprehended by the vast majority of society is that art has always been controversial, yet it is the most misunderstood artists that have work surpassing their deaths. Claude Monet and Vincent Van Gogh- two of the most famous artists of all time- were criticised to such an extent that their work for most of their lives was shunned. While this is quite a basic example, it is valuable in igniting a conversation surrounding the controversies of modern art. Looking closer to art we are unfamiliar with as opposed to immediately judging can open up a realm for a new sort of art that challenges us, gives us meaning and that can connect us in a different way.
Performance art, despite having roots in the early 20th century, is still deemed as inferior in comparison to all other art forms. As a whole, it seems to be perceived as a bit of a joke in the modern age; which is absolutely baffling considering how impactful performance art has been to society. Take for example, Marina Abramovic’s performance “Rhythm 0” in 1974. Picture a large table, 72 objects laid out; the items range from soft and feminine, like lipstick and a hairbrush to volatile, violent devices with the ability to administer serious harm. A gun, a bullet, sharp knives and chains amongst others sit in plain sight. Abramovic places herself in the centre of the room, instructing the audience to use these devices as they wished. Spanning over six hours, the performance witnessed a passive audience evolve into a monstrous display of misogyny. Abramovic’s clothes were ripped, her body mutilated and touched all by the hands of men; she stood with tears in her eyes yet motionless and enduring, even when threatened with a gun. Her performance highlights the nature of humanity when they are given free will; something that could not be so powerfully depicted in any medium other than performance art.
Abramovic’s work proves that value and potential of performance art indubitably. It is one thing to witness a physical work in a gallery, perceive it in your own subconscious and find value within it; but it is a whole other level to be confronted by a performance artist as they create the work in the present. You are forced to pay attention, to be involved in some way and to connect with the artist themselves and the witnesses alongside you. Art is not always intended to be palatable and Instagram worthy, but instead a medium to connect.
As a performance artist myself, I can understand why sometimes it can be perceived as a little silly- my work tends to come from darker places but emerges into the physical looking quite comical and bright. However, what needs to be understood is that art is not tied down to one meaning or feeling; Abramovic proves in her work that performance art can hold significance and feel serious, whereas other artists are lighter and play the lines between humour and meaning. It is ultimately up to a viewer to take what they feel from the work and there are no real rules for what they should and should not feel. However, performance art in my opinion, is deeply and unfairly scrutinised for it’s execution and concurrently is not even given the time of day to be comprehended. Perhaps actually making an effort to witness performance art before criticising it so harshly would end a lot of the miseducated assumptions revolving around it.
The performance art scene exists internationally, with even Belfast holding its own festival for the medium. The Belfast International Festival of Performance Art (BIFPA) is an annual come together, with international artists from all over the world arriving to showcase their work alongside local artists. Organised this year by the Belfast School of Art, University of Atypical, and supported by Bbeyond, the festival will take place on the 20th and 21st of February in 2 Royal Avenue. It is a valuable chance to not only support local artists but to witness and be apart of an incredibly special tradition. Even if you are unfamiliar with performance art, it is the perfect opportunity to come along and allow yourself to be open to it. BIFPA is a welcoming space with hardworking artists behind the scenes who make the festival what it is- it is most definitely worth the visit.
