Back in September 2017, artist Noëmi Lakmaier lay still for nine hours as a team of balloon assistants and a "bondage engineer" attached 20,000 balloons to her immobilised body. Eventually she achieved lift-off, but since she was inside the Sydney Opera House, she didn't float away.
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Belgian artist Mikes Poppe recently chained himself to a four-ton block of marble and then attempted to free himself by chiseling away at it. His goal was to demonstrate how the "inescapable burden of history" imprisons artists.
Nineteen days later he gave up and asked to be freed, admitting that he had "underestimated the marble." Despite this, he said, "I don’t see that as a failure... On the contrary. I have been able to communicate with the public. I am now going to read the many comments in the guestbook and take a warm bath.”
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In 1974, German artist Joseph Beuys arrived in America for the first time. Upon landing at the airport, he was transported by ambulance directly to the Rene Block Gallery in New York City. He emerged from the ambulance wrapped in a grey felt blanket and was then placed in a room with a wild coyote where he spent the next three days.
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Poincheval hatching eggs
Chuck mentioned
a few weeks ago that French performance artist Abraham Poincheval would soon be sitting on a dozen eggs until they hatch. He's now well into the process of doing that and has hatched nine eggs already.
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In September 1966, the first ever
"Destruction in Art Symposium" was held in London, highlighting the work of the self-styled Destructivists. Basically, they destroyed things and called it art.
LA Times staff writer Robert Toth delivered the following report from the Symposium (
LA Times - Sep 11, 1966):
The artists say they create by demolishing objects and even killing animals. Destruction seems a negation of art, but they say it's creative destruction — "like when you burn a picture you create ashes," one explained.
But to justify slaughter of a flock of chickens, more pretentious words are demanded. Said one abortive chicken killer, Ralph Ortiz:
"Destructivist art gives our destructive instinct its essential expression while coming to terms with destruction's most primitive maladaptive aspects — aspects that ordinarily would prove to work for the destruction of the species rather than its survival."
After those words, which seem to mean emotional release for him, the American "artist" looked absurd when the law intervened to prevent the massacre (which, incidentally, was to have bloodied 10 elegantly tuxedoed men as an added attraction).
Ortiz came up with a lone canary but no, not that either, said the RSPCA inspector.
Could he let the bird out the window? No again, for it was a cold night.
The frustrated Ortiz settled for showing a film of a chicken-killing, but not before the coup de grace was administered.
Why not stomp a caterpillar, suggested an onlooker. "I'm not a caterpillar-killer," huffed the affronted artist.
His less ambitious colleagues have fared better. One broke a chair to smithereens. Another created a hole with an ordinary shovel, and promptly priced it at $350.
Ortiz did, however, help axe a piano apart.
In 1996, Raphael Ortiz (he was no longer calling himself Ralph) re-enacted his piano-axing performance at New York's Whitney Museum of American Art... but with one small change. According to
NY Times critic Michael Kimmelman, he was now accompanied by "a woman in pigtails and ruffled apron standing on a ladder dropping eggs into a bucket and chanting
Humpty Dumpty."

Ralph Ortiz destroying a piano — 1966
Incidentally,
literary critic Robert Grossmith has noted that one of the reasons for the obscurity of the Destructivist Art movement is that "not a single Destructivist work of art exists. There are no primary sources. Not a solitary Destructivist novel, poem, play, story, painting, sculpture, film, dance or piece of music was ever produced or, if produced, allowed to survive. In fact if a Destructivist work of art was to turn up today, its very existence would automatically disqualify it from being considered as genuinely Destructivist. There can in short never be a Destructivist work of art, in any accepted sense of the word ‘be’."
There is just as much of this as you can take--and possibly more than you can take--at her page:
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Artists in Kashmir have started walking cabbages (and other vegetables) on a leash, as a way to protest the ongoing military conflict over the region. One artist explains: "What I wanted to do basically is juxtapose the absurdity of this performance with what was happening around—the structures of violence that I was seeing around me."
These Kashmir artists cite the Chinese artist Han Bing as inspiration, because he was the first to "walk a cabbage."
This reminds me of how, according to legend, the French poet Gerard de Nerval used to
walk his lobster through Paris.

Image source: Shahid Tantray via Vice.com
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Plays that also featured acrobatic & gymnastic stunts. I'm thinking Shakespeare should be performed this way. Hamlet's soliloquy delivered on a trampoline.
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Australian artist Stelarc is growing an ear on his arm. It's been a project of his years in the making. He first got the idea back in 1996, and it took a while to find doctors willing to do the work. But the ear is pretty well formed now. His final goal is to insert a microphone into his arm ear, and then connect the microphone to the internet, so that people around the world can hear through his arm ear.
He says, "People's reactions range from bemusement to bewilderment to curiosity, but you don't really expect people to understand the art component of all of this."
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For for Frieze art fair in New York, performance artist Kris Lemsalu is lying very still for three-and-a-half hours beneath a giant fake turtle shell decorated with giant rhinestones. And that's it. She calls it an inhabited sculpture.
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