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Performances: Maren Hassinger, Senga Nengudi, and Tameka Norris


 

Join us for performances by artists Maren Hassinger, Senga Nengudi, and Tameka Norris.

 


Senga Nengudi, RSVP, 1976-77
Maren Hassinger will activate Senga Nengudi’s well-known work RSVP from 1976-77 during the opening weekend for Radical Presence. Nengudi will create an installation out of common nylon stockings that are stretched into a poetic sculptural form. In activating the work, Hassinger will move through the piece, pulling, stretching, and knotting the nylon, and in so doing, will create odd, flesh-toned bulges that become uncanny evocations of the body.

Senga Nengudi (b. 1943) started transforming ordinary objects into performative sculptures in the early 1970s. Working with nylon, sand, and other found materials, Nengudi transforms the ordinary beyond its subscribed function and into ritualistic artifacts.Nengudi has continued her interest in the intersection between body, object, and performance through, for example, her cross-cultural investigations of such ephemeral traditions as sand painting.

Maren Hassinger, Women’s Work, 2006
Hassinger first performed Women’s Work in 2006 at the Foundation Cartier pour l’Art Contemporain, Paris. Newspaper in hand,Hassinger and her performers present to the audience a repetitive action that alludes to sewing, knitting, and other craft-based activities that are traditionally labeled as “women’s work.” These gestures are then amplified using microphones and speakers transforming the simple actions into a cacophonous sound work.

Maren Hassinger (b. 1947) is an artist who creates work across genres and media, including sculpture, video, performance, and installation-based art. Throughout her career Hassinger has continued to participate in the discourse surrounding the performativity of gender and race, making it clear that these conversations are necessary and relevant today.

Tameka Norris, Untitled, 2012
Norris’ performance tests not only the artist’s ability to tolerate pain but also the audience’s ability to bear witness to this pain. In Untitled, Norris literally bleeds for art as she first cuts herself and then marks the walls in an action that gives new meaning to gesture painting.

Tameka Norris (b. 1979) utilizes a variety of media including performance, painting, video, photography, and installation to investigate such themes as the legacy of art history, the fictions of the past, and the contradictions inherent in contemporary society and culture. 

 

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