making-stuff-with-melletios

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Paulo Bruscky

Performance view of What is art? What is it for? (O que é arte? Para que serve?, 1978. Recife, brazil. 

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Alan Suicide

Alan Suicide with his sculpture at OK Harris Gallery, 1975. Photo by Yuri

My sculpture is an example of Punk visually, a not-give-a-shit attitude about just piling up a load of garbage and proving it could look good too… I found TVs in the street… I would go into these light stores and shove lights into my pockets… occasionally I throw in radios… four or five radios playing different stations… People won’t get close to the sculpture… there are lots of broken wires, smashed bulbs, chains, broken glass, and other kinds of things that just threaten people.

- Alan Suicide

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constellations of being! artist unknown. year?

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emotion contenue, marie-ange guilleminot, 1995

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Senior Citizens Just Lounging 20 Feet Above Ground

https://mymodernmet.com/angie-hiesl-x-times-people-chair

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Marina Abramović & Ulay A Living Door of the Museum

“If there were no artists, there would be no museums, so we are living doors.”

Standing naked in the main entrance of a museum, facing each other while the audience passes sideways through the small space. Legendary performance artists Marina Abramović and Ulay share the story behind their poetic work ‘Imponderabilia’. Read less ...

The most famous couple in performance art made the ‘Imponderabilia’ work in Bologna, Italy, in 1977 – a groundbreaking performance in many ways, not least in terms of re-imagining the role of the audience. 350 people passed through the two artists before the police stopped it. Abramović argues that she and Ulay were “living doors,” which she finds very poetical: “if there were no artists, there would be no museums, so we are living doors.”

When people passed through, they had to choose between turning towards the male or the female: “That was of course the game that’s called ‘imponderabilia’. That in a flash of a second you have to make a decision and you make your decision before you figure out why,” Ulay comments. Abramović adds that it’s equally important that the piece is reperformed “because it says something about performance as a time-based art, says something about the emotions of the public, integration of the artists in the public …”

Marina Abramović (b. 1946) was born in Belgrade in former Yugoslavia and is now based in New York, US. She began her work as a performance artist in the early 1970s and is now regarded as one of the most important artists in the field. Her work explores the relationship between the performer and audience, the limits of the body and the possibilities of the mind. In 2017 the retrospective ‘The Cleaner’ was shown at Moderna Museet in Stockholm, Sweden, and at Louisiana Museum of Modern Art in Humlebæk, Denmark, among other places.

Ulay (Frank Uwe Laysiepen, b. 1943) is a German artist, now based in Amsterdam, Holland, and Ljubljana, Slovenia. Ulay received international recognition for his work as a photographer, mainly in Polaroid, from the late 1960s, and later as a performance artist, including his collaborative performances with Marina Abramović from 1976 to 1988. His work has continuously dealt with politics, identity and gender. In 2016 Schirn Kunsthalle in Frankfurt, Germany, held the first major retrospective show of his work ‘Ulay Life-Sized’.

Marina Abramović and Ulay were interviewed by Christian Lund at Louisiana Museum of Modern Art, Denmark, in June 2017 in connection with Marina Abramović’s retrospective ‘The Cleaner’.

In the video, Marina Abramović and Ulay discuss the performance ‘Imponderabilia’, 1977. Documentary clip from Italian Television, Rai 1.

Camera: Rasmus Quistgaard Edited by: Roxanne Bagheshirin Lærkesen Produced by: Christian Lund Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

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Posta’

Great turmoil produced great posters. 

The 1960s saw the rise of pop art and protest movements throughout the West; both made great use of posters and contributed to the poster's revitalisation at this time. Perhaps the most acclaimed posters were those produced by French students during the so-called "événements" of May 1968. During the 1968 Paris student riots and for years to come, Jim Fitzpatrick's stylised poster of Marxist revolutionary Che Guevara (based on the photo Guerrillero Heroico), also became a common youthful symbol of rebellion.

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Tehching Hsieh

Art / Life: One Year Performance 1983-1984 (Rope Piece)

In this performance, Hsieh and Linda Montano spent one year between 4 July 1983 and 4 July 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in the same room and were not allowed to touch each other until the end of the one-year period. Both of them shaved their hair in the beginning of the year, and the performance was notarized initially by Paul Grassfield and later by Pauline Oliveros.

http://www.ghosttt.com/rope-piece-a-one-year-performance-piece/

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The Kiss (2004) William Cobbing ©

experiment with your bodies and material you know.. 

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Vagueness

Buried Cube Containing an Object of Importance but Little Value.

some ideas for you box transformation.

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"121 prepared dc-motors, cardboard elements 8x8cm" (2011) by Zimoun

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Zimoun : 157 prepared dc-motors, cotton balls, cardboard boxes 60x20x20cm, 2014

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Zimoun : 138 prepared dc-motors, cotton balls, cardboard boxes 40x40x40cm, 2011

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Zimoun + Hannes Zweifel : 200 prepared dc-motors, 2000 cardboard elements 70x70cm, 2011