Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Visual Grammar of Suffering: Pia Lindman and the Performance of Grief

The Visual Grammar of Suffering: Pia Lindman and the Performance of Grief THE VISUAL GRAMMAR OF SUFFERING Pia Lindman and the Performance of Grief Kriss Ravetto-Biagioli P ia Lindman is perhaps best known for her Public Sauna at P.S.1 in 2000, where she installed a working sauna in an artspace and invited the audience to join in the performance, defying the taboo of nudity in American culture and foregrounding the centrality of the human body in art. Like Public Sauna, her more recent work belongs in the tradition of minimalist and community-oriented art. Site-specific in nature, it concerns the relation of the body to public space in everyday life and the broader socio-political issues inscribed in those dynamics. Lindman provokes us to think about how everyday interactions with bodies, architecture, media, and public art affect our sense of self and our experience of social space. By drawing attention to how social interactions are themselves performative, her work also reveals the inherent performativity of making and experiencing art. Her recent New York Times demonstrates the tensions between human gestures of private suffering and the political motivations for monumentalizing personal grief. Lindman has performed New York Times in Mexico City, Tokyo, Helsinki, Vienna, Berlin, and most recently at Battery Park, the Vera http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Visual Grammar of Suffering: Pia Lindman and the Performance of Grief

Download PDF
16 pages

Loading next page...
 
/lp/mit-press/the-visual-grammar-of-suffering-pia-lindman-and-the-performance-of-w9KtGPc1XA

References (17)

Publisher
MIT Press
Copyright
© 2006 Kriss Ravetto-Biagioli
Subject
Feature
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2006.28.3.77
Publisher site
See Article on Publisher Site

Abstract

THE VISUAL GRAMMAR OF SUFFERING Pia Lindman and the Performance of Grief Kriss Ravetto-Biagioli P ia Lindman is perhaps best known for her Public Sauna at P.S.1 in 2000, where she installed a working sauna in an artspace and invited the audience to join in the performance, defying the taboo of nudity in American culture and foregrounding the centrality of the human body in art. Like Public Sauna, her more recent work belongs in the tradition of minimalist and community-oriented art. Site-specific in nature, it concerns the relation of the body to public space in everyday life and the broader socio-political issues inscribed in those dynamics. Lindman provokes us to think about how everyday interactions with bodies, architecture, media, and public art affect our sense of self and our experience of social space. By drawing attention to how social interactions are themselves performative, her work also reveals the inherent performativity of making and experiencing art. Her recent New York Times demonstrates the tensions between human gestures of private suffering and the political motivations for monumentalizing personal grief. Lindman has performed New York Times in Mexico City, Tokyo, Helsinki, Vienna, Berlin, and most recently at Battery Park, the Vera

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2006

There are no references for this article.