performance art that involve audience participation
Here are some additional examples of performance art that involve audience participation, with a focus on the therapeutic effects and activation of space:
Tim Etchells' " Certain Fragments" (1998-ongoing) - This is a series of text-based performance works that invite members of the audience to participate in a series of prompts and exercises designed to challenge their assumptions and expand their sense of self. The work has been described as having therapeutic and empowering effects for participants.
Joan Jonas' "Mirror Pieces" (1969-70) - In these performances, Jonas invited members of the audience to use handheld mirrors to reflect and refract light and images, creating a collective and immersive experience that challenged conventional perceptions of space and time.
Randall Packer and Ken Jordan's "Zoned landscapes" (1998-ongoing) - This is an ongoing series of multimedia performances that invite participants to explore virtual and physical landscapes, using various media to activate their senses and challenge their perceptions of reality.
Suzanne Lacy's "The Crystal Quilt" (1987) - This performance involved hundreds of elderly women gathering in public spaces to share their stories and experiences, creating a collective and empowering narrative that challenged societal assumptions and stereotypes.
Tehching Hsieh's "One Year Performances" (1978-1986) - This series of performances involved Hsieh undertaking a series of extreme actions, such as punching a time clock every hour for a year, and inviting the public to witness and participate in the creation of the artwork.
performance art that involve participation:
Yoko Ono's "Cut Piece" (1964) - In this seminal work, Ono invited members of the audience to come on stage and cut off a piece of her clothing until she was left in her underwear. The piece addressed issues of power, vulnerability, and audience agency.
Marina Abramović's "Rhythm 0" (1974) - This performance involved Abramović placing 72 objects, including a knife, a gun, and a whip, on a table and inviting the audience to use them on her in any way they chose for 6 hours. The work explored themes of trust, control, and the relationship between performer and audience.
Santiago Sierra's "240 cm Line Tattooed on 6 Paid People" (2000) - In this piece, Sierra hired people to have a straight line tattooed on their back, creating a series of human canvas that comment on the commodification of the body and the exploitation of labor.
Guillermo Gómez-Peña's "Border Brujo" (1989-90) - In this performance, Gómez-Peña dressed in "tribal" attire and invited members of the audience to participate in a series of rituals that critiqued Western stereotypes and cultural imperialism.
Tania Bruguera's "Tatlin's Whisper #6" (2008) - In this performance, Bruguera invited members of the audience to take the stage and speak freely for one minute each, creating a collective, democratic space that challenged the dominant narratives and censorship in Cuba.
