Cuban performance artist Alejandro Figueredo Diaz-Perera plans to spend three weeks living inside the walls of a Chicago art gallery. He's titling this performance piece "In the Absence of a Body." The Chicago Arts Coalition, which is hosting Diaz-Perera, elaborates:
While living inside the 2.5-foot-wide corridor, Diaz-Perera will do only the most essential actions of his quotidian life: sleep, eat, and personal hygiene. He will not communicate with anyone on the other side of the walls. While he will be able to observe the audience, Diaz-Perera will remain invisible to them. Until the close of the exhibition, Diaz-Perera will attempt to embrace the act of becoming a Ghost of himself, an absence, nothing.
The concept kinda reminds me of Vito Acconci's 1972 performance piece Seedbed, in which he spent 3 weeks hidden beneath a ramp in an art gallery, loudly pleasuring himself. I'm guessing that over the course of 3 weeks, Diaz-Perera will probably also indulge in a bit of that. More info at HuffPost.com.
The only other internet reference I can find about "Bambi the Fire Goddess" seems to date her act as far back as 1965. (This foto is from 1970.) It appears then that she had the problem of scorched vajayjay under control.
UK artist Mark Farid wants to spend 28 days wearing virtual reality goggles, and he wants all of us to pay for it. His plan is that by wearing the goggles he will "experience life through another person's eyes and ears." This person whose life he'll be experiencing is only known as "The Other."
Why so much? Because, says Farid, the experiment "will require a team of medically trained invigilators at all times over the course of the 28 days as well as camera men, technicians and assistants on site 24 hours a day. This means sleeping accommodation and amenities must be provided for them onsite."
If you go to the Manhattan Bridge Archway in New York City tomorrow, you can witness artist "Dread Scott" repeatedly trying to walk into the blast of a high-pressure water hose. He calls this performance "On the Impossibility of Freedom in a Country Founded on Slavery and Genocide." As you watch it, you're supposed to be reminded of crowd control tactics of the past and think about the ongoing struggle for equality. At least, that's the official takeaway.
In the theater, Ms. Samama, with a whistle in her mouth, removes her clothing and lies on the floor next to the room’s white brick wall. Stretching her legs up the wall and folding them into her belly, she travels in a continuous spiral along its perimeter. It’s painstaking work, and her labored breathing is audible through the whistle.
Not sure these recorded performances capture whatever unique brilliance these performers were reputed to exhibit.
In the December 21, 1935 edition of the Pittsburgh Post-Gazette an entertainment columnist wrote: “The English language does not contain a word which perfectly describes the performance of Ruth Draper, who comes to the Nixon next Thursday for the first time in several years to give a different program at each of her four performances here. “Speaking Portraits” and “Character Sketches” are the two terms most frequently applied to Miss Draper's work; and yet it is something more than that. “Diseuse” is the French word, but that is more readily applicable to an artist like Yvette Guilbert or Raquel Meller. Monologist is wholly inadequate. The word “Diseuse” really means “an artist in talking” so that may be the real term to use in connection with Miss Draper.” Actresses who have been called noted diseuses over the years include Yvette Guilbert, Ruth Draper, Joyce Grenfell, Cornelia Otis Skinner, Lucienne Boyer, Raquel Meller, Odette Dulac, Beatrice Herford, Kitty Cheatham, Marie Dubas, Claire Waldoff, Lina Cavalieri, Françoise Rosay, Molly Picon, Corinna Mura, Lotte Lenya.