ART Habens
BBB Johannes Deimling
completely changed my direction in so many different ways. Teaching and Performance Art practice have a lot in common. The situation a teacher – in any subject – creates is very much the same alike the situation an artist creates who is creating a performative piece of art. Both are trying to point on something which is unknown until the moment the actual teaching / learning or creative act happens. Both are sharing a space within a certain time frame with people. Both are trying to transfer an experience. Starting from these simple similarities I started to research within the intersections of art practice and education now since more than 17 years.
Teaching Performance Art became more and more important as young generations of artists were interested in this art form, but didn’ t had a direct access or connection to this art form. Still in Europe for example there are just a few academies offering a BA or MA in Performance Art, but the interest in this art form in the past years has increased enormously. Performance is for young artists therefore important as it has massively influenced the production of art and perception of art within the past 30 years. Even though Performance Art is experiencing a boom right now, but still it plays a marginal role in the market – which perhaps is not the worst thing to happen. The strategies and philosophies of performative art practice are useable for all kind of art practices. It can be seen as chameleon which has the potential to adjust in each artistic and as well non-artistic process.
In 2008 I founded the independent, educational project PAS | Performance Art Studies of which since then I am the artistic director. The aim of this project is to provide interested people a comprehensive form of teaching on Performance Art, everywhere in the world and always in cooperation with Performance Art festivals, art academies, museums and galleries.
Special Issue
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