PICTURES OF THE NAKED NIGHT IN KUNSTHAL

Nudity only exists in co-existence with clothing. Without the concept of clothing nudity would just be what it was, without existing as a concept.

WHAT DOES WIKIPEDIA SAY ABOUT NUDITY?

https://www.quora.com/When-does-nudity-cease-to-be-artistic-and-instead-become-vulgar

https://journals.sagepub.com/doi/full/10.1177/1077699020925450

article about nudity in advertisements

blog about the boundaries between artistic and vulgar nudity

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2954360/

article about how our own actions influence the way we perceive others

NPO THINGIES

The history of nudity in art told by nude models

Nude modelling is totally non sexual practice that has changed a lot over time

Historically, nude models have been minorities, prostitutes...

Is nudity inherently erotic?

Can we appreciate the body for what it is without connecting it to so many outside factors?

https://www.youtube.com/watch?v=qJzePj3GSCs&ab_channel=ThreeEyeFilms

LAUREN! 2016
'NUDISTEN'

https://www.npostart.nl/lauren/11-01-2016/AT_2045391?st=premium


DANNY'S WERELD 2021
'OPEN EN BLOOT'

https://www.npostart.nl/dannys-wereld/06-05-2021/VPWON_1326860?st=premium


GEWOON. BLOOT. 2021

https://www.npostart.nl/gewoon-bloot/VPWON_1329171?st=premium

Swiss artist arrested in Paris for naked performance

https://www.cloverspa.co.uk/why-we-need-to-distinguish-nudity-

Good explanation of what the difference is

Are there spaces for non sexual nudity in society?

Spa, nude beach, at home

https://news.artnet.com/art-world/milo-moire-naked-performance-314426

https://bellatory.com/fashion-industry/History-of-Clothing-Why-We-Wear-Clothes

projects where people are naked

Documentary of Lauren going to spielplatz which is a naturist village in the UK.






Legal nudist websites gets misused by for example pedofiles.





Program where kids can ask naked adults anything about their bodies.

--> https://www.youtube.com/watch?v=oa6yhDwPN7Q

--> https://www.youtube.com/watch?v=1D3EqlaY0Ss

--> https://www.youtube.com/watch?v=7IOLCfOcKSA

https://www.kunsthal.nl/en/plan-your-visit/activities/nakedtourvasconcelosUK/
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/Vasconcelos/

--> https://www.nbcnews.com/id/wbna16948773

--> https://www.theguardian.com/commentisfree/2015/apr/08/nudity-is-the-ultimate-test-of-self-acceptance-why-are-we-so-afraid-of-it?platform=hootsuite

--> https://www.theguardian.com/artanddesign/2015/apr/02/skinny-dipping-in-the-void-the-day-i-toured-james-turrells-art-show-naked

Body extension art

What are the body's limits?

Yves Klein using the body to make art

First nude depiction

VISUALS

STARTING TOPIC: IDENTITY -> NUDITY/EXPOSURE

GROUP: EVA, JOOST, SEMMI,
ANNA, SARAH, FLORA

FIRST EXPERIMENTS

Idea of nudity being a kind of exposure, makes you feel vulnerable

Other kinds of exposure: crying, revealing a secret, physical touch

These things make us feel uncomfortable, ashamed

Why?

How can we be vulnerable together, but still feel comfortable enough to open up?

Hiding it in different ways

Here we were peeling onions while answering deep questions about our relationships to our bodies, no one would be able to tell if we were crying from emotions or because of the onions

expressions of nudes are the extreme opposite of expressions of figures wearing trench coats, hats, and dark sunglasses. They also allow the artist to show people outside of a historical context if he wishes to do so. Put any kind of clothing on a person in a painting or a sculpture and you tie them down to a time when that kind of clothing was common or popular and apart from times when it wasn't.

The text of Genesis 3 suggests that they became ashamed because they realized that they were naked. But what realization was that?
They were not created literally blind, and so they weren’t seeing their
own skin for the first time

PERFORMANCE SCORE

Certainly, one of the interventions (and charms) of Fluxus scores were the openness of the scores, where interpretation and chance were much more important than following the letter of the law, as one might in traditional sheet music, for example. As such, reading Fluxus scores as performance texts allows us to see how writing can activate art/life works that writing cannot contain or control.


I’m most interested in those works that somehow contain (if that’s the word) the performance in the text itself — not as a document or as performative utterance per se, but in the way that poetic writing can make something happen in the world, even if that ‘in the world’ is only in the reader’s brief imagining of potential enactments.

As with many avant-garde movements that press against the art/life divide, fluxus and similar performance scores can profoundly change the way we understand our own relations to the kinds of banal instructions that make up our daily negotiations of text and behavior. Whether or not we might think of driving directions or to-do lists or instructions for putting together an Ikea bookshelf as performance scores, there are ways in which we do perform tasks, shape our bodies, work within and against constraints, in response to written ‘scores’ that we often do not think of as aesthetic in nature (much less in the spirit of Fluxus). Of course, we generally don’t think of such tasks as art/ful unless we are ‘breaking the rules’ (think the derivé vs. mapquest), and many of our daily encounters with instructions are instrumentalized and governed by Taylorist notions of efficiency, purpose, and productivity (in Marxist terms, towards the production of value; for Foucault, towards the production of disciplined subjects). “Following the letter of the law,” after all, is usually an exercise in privatized actuarialism and not something we’d call performance writing (unless taken to some kind of parodic extreme, like when I bring a child to carry on the escalator at the mall in order to adhere to the ‘carry children on escalator’ sign).

“Cut Piece First version for single performer: Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage—one at a time—to cut a small piece of the performer’s clothing to take with them. Performer remains motionless throughout the piece. Piece ends at the performer’s option.” In a second version, Ono amended the instructions slightly, indicating that “members of the audience may cut each other’s clothing. The audience may cut as long as they wish.

FLUXUS SCORES (TheFluxusPerformanceWorkbook)

ALL LINKS TO SUBPAGES