"Once upon a time two daring young artists - Marina Abramovic from Yugoslavia, and Uwe Laysiepen from West Germany - chanced to meet in Amsterdam, fall in love, and begin an extraordinary collaboration. Their guiding principles: "no fixed living-place, permanent movement, direct contact, local relation, self-selection, passing limitations, taking risks, mobile energy, no rehersal, no predicted end, no repetition." For a dozen years, and across five continents, they produced a body of work that is regarded as being among the most conceptually powerful and emotionally challenging in all of Performance Art.
Uwe Frank Laysiepen (born 1943), better known as Ulay, has been a pioneer of Polaroid photography and one of the central figures of European performance art since the 1970s. A singular presence among the artists of his generation, his radically innovative work in partnership with Marina Abramovic has received critical acclaim worldwide. With the exception of his 12-year collaboration with Abramovic, much of the work that makes up Ulay's long career is not well known outside of Europe. Compiled by Maria Rus Bojan (who has published extensively on Ulay), "Whispers: Ulay on Ulay" reveals an extremely innovative oeuvre, coherently rooted in a personal life philosophy guided by strong ethical principles. "I produced a very bizarre body of work," Ulay says of his artistic career, "I experimented a lot: You have to if you are aiming at something that does not exist yet." In a long, thematic interview with Alessandro Cassin, Ulay speaks openly about his life and career. This unusually generous volume provides new insight into the early work and current endeavors of the artist.
Through her engaged and articulate essays in the Village Voice, C. Carr has emerged as the cultural historian of the New York underground and the foremost critic of performance art. On Edge brings together her writings to offer a detailed and insightful history of this vibrant brand of theatre from the late 70s to today. It represents both Carr’s analysis as a critic and her testament as a witness to performances which, by their very nature, can never be repeated. Carr has organized this collection both chronologically and thematically, ranging from the emphasis on bodily manipulation/endurance in the 70s to the underground club scene in New York to an insider’s analysis of the Tompkins Square Riot as a manifestation of the cultural and social conflicts that underlie much of performance art. She examines the transgressive and taboo-shattering work of Ethyl Eichelberger, Karen Finley, and Holly Hughes; documents specific performances by Annie Sprinkle and Lydia Lunch; and maps the development of such artists as Robbie McCauley, Blue Man Group, and John Jesurun. She also describes the “cross-over” phenomenon of the mid-80s and considers the far-right backlash against this mainstreaming as cultural reactionaries sought to curb the influence of these new artists. CONTRIBUTORS: Linda Montano, Chris Burden, G.G Allin, Jean Baudrillard, Patty Hearts, Dan Quayle, Anne Magnouson, John Jesurun, John Kelly, Shu Lea Changvv, Diamanda Galas, Salley May, Rafael Mantanez Ortiz, Sherman Fleming, Kristine Stiles, Laurie Carlos, Jessica Hafedorn, Robbie McCormick, Karen Finley, Poopo Shiraishi, Donna Henes, Holey Hughe, Ela Troyano, Michael Smith, Harry Koipper, John Sex, Nina Jagen, Ethyl Eichelberge, Marina Abramovic, Ulay. Ebook Edition Note: All illustrations have been redacted from the ebook edition.