Endurance art is a kind ofperformance art involving some form of hardship, such as pain, solitude or exhaustion.[2] Performances that focus on the passage of long periods of time are also known asdurational art ordurational performances.[3]
Human endurance contests were a fad of Depression-era United States from the 1920s–1930s.[4] Writer Michael Fallon traces the genre of endurance art to the work ofChris Burden in California in the 1970s.[5] Burden spent five days in a locker inFive Day Locker Piece (1971), had himself shot inShoot (1971), and lived for 22 days in a bed in an art gallery inBed Piece (1972).[6]
Other examples of endurance art includeTehching Hsieh'sOne Year Performance 1980–1981 (Time Clock Piece), in which for 12 months he punched a time clock every hour, andArt/Life One Year Performance 1983–1984 (Rope Piece), in which Hsieh andLinda Montano spent a year tied to each other by an eight-foot (2.4 m) rope.[7]
InThe House with the Ocean View (2003),Marina Abramović lived silently for 12 days without food or entertainment on a stage entirely open to the audience.[8] Such is the physical stamina required for some of her work that in 2012 she set up what she called a"boot camp" in Hudson, New York, for participants in her multiple-person performances.[9]
The Nine Confinements or The Deprivation of Liberty is a conceptual, endurance art and performative work of critical andbiographical content by artistAbel Azcona. The artwork was a sequence of performances carried out between 2013 and 2016. All of the series had a theme ofdeprivation of liberty. The first in the series was performed by Azcona in 2013 and namedConfinement in Search of Identity.[10] The artist was to remain for sixty days in a space built inside an art gallery of Madrid, with scarce food resources and in total darkness. The performance was stopped after forty-two days for health reasons and the artist hospitalised.[11] Azcona created these works as a reflection and also a discursive interruption of his own mental illness, mental illness being one of the recurring themes in Azcona's work.[12]
^For artists in endurance performances "[q]uestioning the limits of their bodies," Tatiana A. Koroleva,Subversive Body in Performance Art, ProQuest, 2008, pp. 29, 44–46.
^Paul Allain, Jen Harvie,The Routledge Companion to Theatre and Performance, Routledge, 2014, p. 221. Other terms include duration art, live art or time-based art.
Beth Hoffmann, "The Time of Live Art," inDeirdre Heddon, Jennie Klein (eds.),Histories and Practices of Live Art, Palgrave Macmillan, 2012, p. 47.
^Michael Fallon,Creating the Future: Art and Los Angeles in the 1970s, Counterpoint, 2014, p. 106: "Burden's performances were so widely observed that they took on a life beyond the artist, helping create a new art genre, 'endurance art' ..."
^Andrew Taylor,"Tehching Hsieh: The artist who took the punches as they came",Sydney Morning Herald, 30 April 2014: "Don't try this endurance art at home. That is Tehching Hsieh's advice to artists inspired to emulate the five year-long performances he began in the late 1970s."
^Thomas McEvilley, "Performing the Present Tense – A recent piece by Marina Abramovic blended endurance art and Buddhist meditation,"Art in America, 91(4), April 2003.
^Knights, Karen (2000). "Sculpting The Deficient Flesh: Mainstreet, Body Culture And The Video Scapel". In Abbott, Jennifer (ed.).Making Video "In": The Contested Ground Of Alternative Video On The West Coast. Vancouver: Video Inn Studios. p. 53.ISBN9781551520223.{{cite book}}: CS1 maint: publisher location (link)
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