Filmed by Chen Hangfeng / Edited by Branko Miliskovic

photo by Hangfeng Chen 1.jpgphoto by Hangfeng Chen 2.jpg

live performance at ADC studio Théâtre du Grütli, Geneva 22 June 2016
duration 2 hours
Photo by Chen Hangfeng
Supported by: Foundation MALI PRINC, Embassy of Foreign Artists and Adc Geneve

Performance ≠ Hobby

I can’t think of any job nowadays less payed than working as a performance artist. Even 60 years after FLUXUS and BodyArt have paved the way to this artistic expression, it´s still such a non respectable profession mostly considered as a hobby, except for a very small number of those in their late 60`s. There are no rights, no established standards of quality, no representing venues, no agents and production managers and no regular programs of performance pieces. Some of them are impossible to perform every night, such as theatre or choreographic pieces, due to dangerous, exhausting and health threatening actions as well as due to it´s specific constellations and that automatically means no regular incomes=therefore=no way to earn enough for living, unless teaching at the art academy if politically suitable. Teaching who? A bunch of future jobless artists? If an artist is very lucky, some ”live art” festival is going to invite him/her to perform, no more than once in 5 years (if the festival is lucky to survive) and even that opportunity would be full of compromises with full time employed, bloodless curators and structure of the venue. In 90% of all cases, an artist is performing for CV, in some cases an artist is even obliged to pay to be able to perform for CV. For instance in Germany and Belgium almost all festivals and all free venues are reserved almost exclusively for contemporary choreography and pamphlet theatre. The rest is an entertainment popularly called ”interactive art”. Some pretty radical measures should be taken before this profession is completely marginalised or taken for a grant.