This chronology first appeared in the exhibition catalog Arte ≠ Vida: Actions by Artists of the Americas 1960–2000 (New York: El Museo Del Barrio, 2008). It was compiled from: an original timeline created by Deborah Cullen, curator, for the exhibition Arte ≠ Vida (New York: Museo del Barrio, 18 January–31 May, 2008; No lo llames performance, curated by Paco Barragán and Deborah Cullen (New York: El Museo del Barrio, August 18–November 7, 2004); the checklist of works included in the exhibition, Arte ≠ Vida: Actions by Artists of the Americas, 1960–2000, curated by Deborah Cullen (New York: El Museo del Barrio, January 31–May 18, 2008); interviews and conversations with artists and colleagues; individual artist’s archives at El Museo del Barrio and publications in El Museo’s library related to these artists and movements; the contents of the essays included in the publication Arte ≠ Vida, and from several important printed sources. In particular, we note the following: the proceedings from the Primer Coloquio Latinoamericano de Arte No-Objetual (1981); and the books, Out of Actions: Between Performance and the Object 1949–1979 (Los Angeles, CA: The Museum of Contemporary Art, 1998), Corpus Delecti: Performance Art of the Americas (London: Routledge, 2000), Inverted Utopias: Avant-Garde Art in Latin America (New Haven: Yale University Press, 2004), The Age of Discrepancies: Art and Visual Culture in Mexico, 1968–1997 (México: Universidad Nacional Autónoma de México, 2006); Killing Time: An Exhibition of Cuban Artists from the 1980s to the Present (New York: Exit Art, 2008); and Beginning With a Bang! From Confrontation to Intimacy: An Exhibition of Argentine Contemporary Artists, 1960–2007 (New York: Americas Society, 2007). Please consult the bibliography of Arte ≠ Vida for additional and full citations. While efforts have been made to be as inclusive as possible, due to space limitations, all works by all artists have not been included, but rather a curated selection of works, highlighting the earlier gestures, have been noted. Equally, brief mentions of key events are cited as reference points. Numerous additional works and events could be incorporated into an entirely different project.
Esta cronología apareció primero como parte del catálogo de la exhibición Arte ≠ Vida: Acciones por artistas de las Américas, 1960-2000 (Nueva York: El Museo Del Barrio, 2008). La información que aparece en la cronología fue recopilada de las siguientes fuentes: la línea de tiempo creada por la curadora Deborah Cullen para la exhibición original de Arte ≠ Vida (Nueva York: El Museo del Barrio, del 18 de enero al 31 de mayo del 2008); la exhibición No lo llames performance, curada por Paco Barragán y Deborah Cullen (Nueva York: El Museo del Barrio, del 18 de agosto al 7 de noviembre del 2004); la lista de obras incluida en la exhibición original de Arte ≠ Vida; entrevistas y conversaciones con artistas y colegas; los archivos de artistas individuales de El Museo del Barrio y publicaciones en la biblioteca de El Museo relacionadas a estos artistas y movimientos artísticos; el contenido de los ensayos incluidos en el libro Arte ≠ Vida y varias otras fuentes impresas. Entre las fuentes utilizadas, se encuentran el Primer Coloquio Latinoamericano de Arte No-Objetual (1981); y los libros Out of Actions: Between Performance and the Object 1949–1979 (Los Angeles, CA: The Museum of Contemporary Art, 1998), Corpus Delecti: Performance Art of the Americas (London: Routledge, 2000), Inverted Utopias: Avant-Garde Art in Latin America (New Haven: Yale University Press, 2004), The Age of Discrepancies: Art and Visual Culture in Mexico, 1968–1997 (México: Universidad Nacional Autónoma de México, 2006); Killing Time: An Exhibition of Cuban Artists from the 1980s to the Present (New York: Exit Art, 2008); and Beginning With a Bang! From Confrontation to Intimacy: An Exhibition of Argentine Contemporary Artists, 1960–2007 (New York: Americas Society, 2007). Favor consultar la bibliografía de Arte ≠ Vida para referencias adicionales y completas. Aunque se ha intentado ser lo más inclusivo posible, debido a límites de espacio no se escogieron obras de todos los artistas y se optó por presentar una selección curada de las obras, enfatizando las acciones y performances más tempranas. De igual modo, la cronología incluye breves puntos de referencia sobre eventos históricos de importancia. Podrían incluirse numerosas obras y eventos adicionales en lo que sería un proyecto completamente distinto.
Esta cronologia apareceu primeiramente no catálogo da exibição Arte ≠ Vida: Ações por Artistas das Américas 1960–2000 (Nova Iorque: Museo del Barrio, 2008). Ela foi compilada a partir: de um calendário original criado por Deborah Cullen, curadora, para a exibição Arte ≠ Vida (Nova Iorque: Museo del Barrio, 18 de janeiro – 31 de maio de 2008); da obra No lo llames performance, cujos curadores foram Paco Barragán e Deborah Cullen (Nova Iorque: Museo del Barrio, 18 de agosto – 7 de novembro de 2004); do rol de trabalhos incluídos na exibição Arte ≠ Vida: Ações por Artistas das Américas, 1960–2000, da qual Deborah Cullen foi a curadora (Nova Iorque: Museo del Barrio, 31 de janeiro – 18 de maio de 2008); de entrevistas e conversas com artistas e colegas; de arquivos de artistas individuais no Museo del Barrio e de publicações na biblioteca do Museo del Barrio relacionadas a esses artistas e movimentos; dos conteúdos dos ensaios incluídos na publicação Arte ≠ Vida e a partir de várias fontes impressas importantes. Em particular, observamos o seguinte: os procedimentos do “Primer Coloquio Latinoamericano de Arte No-Objetual” (1981) e os livros: Out of Actions: Between Performance and the Object 1949–1979 (Los Angeles, CA: The Museum of Contemporary Art, 1998); Corpus Delecti: Performance Art of the Americas (Londres: Routledge, 2000); Inverted Utopias: Avant-Garde Art in Latin America (New Haven: Yale University Press, 2004); The Age of Discrepancies: Art and Visual Culture in Mexico, 1968–1997 (México: Universidad Nacional Autónoma de México, 2006); Killing Time: An Exhibition of Cuban Artists from the 1980s to the Present (Nova Iorque: Exit Art, 2008); e Beginning With a Bang! From Confrontation to Intimacy: An Exhibition of Argentine Contemporary Artists, 1960–2007 (Nova Iorque: Americas Society, 2007). Favor consultar a bibliografia de Arte ≠ Vida para citações adicionais e completas. Apesar de todo o esforço no sentido de ser o mais inclusivos possível, em decorrência de limitações espaciais, não foram incluídos todos os trabalhos de todos os artistas, mas consta uma seleção de trabalhos, feita por meio de uma curadoria, destacando os gestos anteriores. Igualmente, breve menções de eventos chave são citadas como ponto de referência. Vários outros trabalhos e eventos poderiam ser incorporados em um projeto completamente diferente.
“Destructivism: A Manifesto” (1957–1962)
New York City, U.S.
first “destructions” (1959–1961)
New York City, U.S.
street actions: flyers and posters announce, “Greco, que grande sos” (“Greco, How Great You Are”)
Buenos Aires, Argentina
Para la Restitución del Magma (For the Restitution of Magma)
March
Caracas, Venezuela
Homenaje a la cursilería (Homage to Schmaltz)
June
Garage, El Conde Caracas, Venezuela
Conceived by Kenneth Kemble with Enrique Barilari, Jorge López Anaya, Jorge Roiger, Antonio Seguí, Silvia Torras and Luis Alberto Wells
Statements by Kenneth Kemble and Aldo Pellegrini are published
November 20–30
Galería Lirolay, Buenos Aires, Argentina
With poem by Caopolicán Ovalles
¿Duerme Usted Señor Presidente? (Are You Asleep, Mr. President? )
Caracas, Venezuela
Archaeological Finds (1961–1967)
New York City, U.S.
The Panic Movement Ephemeral Shows (1961–1964)
Paris, France and Mexico City, Mexico
Instabilité (Instability)
Maison des Beaux-Arts, Paris, France; Galerie du Groupe N. Padova, Italy; Galerie Danese, Milan, Italy; The Contemporaries Gallery, 992 Madison Avenue, New York City, U.S.; later travels to Belgium, Brazil, and Argentina
Primera exposición de Arte Vivo (First Exhibition of Living Art)
March 12
Paris, France
Non-invitational action outside exhibition, Alberto Greco, obra de arte fuera de catálogo (Alberto Greco, work of art outside the catalogue)
Greco is signed by Yves Klein; then he signs a beggar and a duchess with Klein’s pen
March 13
Exhibition, Antagonismes 2. L’Objet Musée des Arts Décoratifs, Paris, France
First Vivo-Dito (Living Finger)
Paris, France
Manifesto Vivo-Dito
First version in Italian; Genoa, Italy
Annotated and corrected on successive occasions including Piedralaves, Ávila, Spain, 1963
Founds Grupo Arte y Liberación (Art and Liberation Group)
Santo Domingo, Dominican Republic
El Homenaje a la Necrofilia (Homage to Necrophilia)
November
Caracas, Venezuela
Exhibits works with Lourdes Castro and Alejandro Otero and then presents action with collaborators Eric Beynom, Lourdes Castro, Christo, Robert Rilliou, Eli Charles Flaman, Paul Gette, and Manuel Hernández. Jean-Jacques Lebel attends, among others.
La Destrucción (Destruction)
June 8
Impasse Ronsin (lent by Larry Rivers, Jean Tinguely, and Niki de Saint-Phalle)
Paris, France
Un momento de Vivo-Dito: Viaje de Pie en Metro de Sol a Lavapiés (A Moment of Living Finger Art: Journey on Foot in the Metro from Sol to Lavapiés)
October
Subway, Madrid, Spain
Autorretrato Vivo-Dito (Self-Portrait Vito-Dito)
Piedralaves, Ávila, Spain
Caminhando (Walking)
Rio de Janeiro, Brazil
Leyendo las noticias en el Río de la Plata (Reading the News in the Plata River)
Río de la Plata, Buenos Aires, Argentina
Canto al océano (Song to the Ocean)
At the unveiling of a mural by Manuel Felguérez
Deportivo Bahía recreation center, Mexico City, Mexico
Jazz Palabra (Jazz Word)
Mexico City, Mexico
Efímero de San Carlos (Ephemeral Work, San Carlos)
April
Mexico City, Mexico
Mi Madrid Querido (My Beloved Madrid)
December 9
Galería Bonino and Plaza San Martín
Buenos Aires, Argentina
Cabalgata (Cavalcade)
TV Channel 7
Buenos Aires, Argentina
Parangolés (1964–1968)
Rio de Janeiro, Brazil
Labyrinth
Happening with other artists
Paris, France
Duelo de flashes (Duel of Flashes)
Bar Los Lobos, Acapulco, Guerrero, Mexico
Labyrinthe 3, New York
February 16–March 6
The Contemporaries Gallery, 992 Madison Avenue, New York City, U.S.;
Biennale de Paris, France
With Pablo Suárez, David Lamelas, Rodolfo Prayón, Floreal Amor, and Leopoldo Maler
La Menesunda (The Drug on the Market)
May
Instituto Torcuato Di Tella, Buenos Aires, Argentina
Suceso Plástico (Fine Arts Event)
July 25
Estadio de Peñarol de Montevideo, Uruguay
Parangolés
debuted by Magueira School of Samba dancers
Exhibition opening, Opinão 65
August 12
Museu de Arte Moderna, Rio de Janeiro, Brazil
Protesta por la Exposición Salón Pegaso (Protest of the Pegasus Salon Exhibition)
October
Caracas, Venezuela
Hacia el efímero pánico o ¡sacar al teatro del teatro! (Making an Ephemeral Panic, or Take the Theatre out of Theatre!)
Manifesto
Mexico City, Mexico
La Muerte (Death)
With Dalila Puzzovio, Rubén Santantonín, Zulema Ciordia, Delia Cancela, David Meseiean, Carlos Squirru, Edgardo Giménez and Antonio Berni
Galería Lirolay, Buenos Aires, Argentina
Microevents
With Marilú Marini, Edgardo Giménez, Alfredo Rodríguez Arias and Miguel Ángel Rondano
Teatro La Recova, Buenos Aires, Argentina
Bonino aclara ciertas dudas (Bonino Clarifies Some Doubts)
Córdoba, Argentina
And including Ayo, George Brecht, Christo, William Copely, Allan Kaprow, Roy Lichtenstein, Claes Oldenburg, Dieter Roth, Niki de Saint Phalle and Andy Warhol and Alberto Greco
Artist Key Club’s Locker Lottery and Alberto Greco, Rifa Vito-Dito
Grand Central Station, New York City, U.S.
With José Ignacio Cabrujas and Domingo Alvarez
Homenaje a Miller (Homage to Miller)
School of Architecture and Urban Planning, Universidad Central de Venezuela, Caracas
forms, led by Luis Valdez
First play for United Farmworkers Union
Delano, California, U.S.
Destruction Ritual Realizations (1965–1970)
New York City, U.S.
El Batacazo (The Long Shot)
February 6
Bianchini Gallery, New York, U.S. (previously exhibited at Instituto Torcuato Di Tella Buenos Aires, Argentina)
A Day in the Street
Tuesday, April 19, 8 am–11 pm
Paris, France
Liquidación de una platea (Clearance of the Orchestra)
Monday, August 15
Teatro Circular
Montevideo, Uruguay
(Roberto Jacoby, Eduardo Costa, Raúl Escari)
Primera obra de arte de los medios: Happening para un jabalí difunto (First Work of Art of the Mass Media: Happening for a Deceased Boar)
El Mundo newspaper
Sunday, August 21
Buenos Aires, Argentina
Piano Destruction Concert
August
for BBC TV, London, England
August 31–September 30
Africa Center, London, England
DIAS Destruction in Art Symposium
September 9–11
Africa Center, London, England
Participants include Gustav Metzger and John Sharkey (organizers), Günter Brus, Susan Cahn, Henri Chopin, Ivor Davies, Ener Donagh, Al Hansen, Juan Hidalgo, Dick Higgins, Alison Knowles, Kurt Kren, John Latham, Raphael Montañez Ortiz, Charlotte Moorman, Otto Muehl, Hermann Nitsch, Yoko Ono, Robin Page, Nam June Paik, Bryant Patterson, Werner Schreib, John Sexton, Graham Stevens, Jean Toche, Wolf Vostell, and Peter Weibel
First public Destruction Realizations: Press Conference and Chair Destruction, August 31, St. Bride Institute, London, England
DIAS at Speakers’ Corner, with Ernst Flesichmann, Gustav Metzger, September 3, Hyde Park, London
An Evening with Ralph Ortiz, September 5, Better Books, London
Paper Bag Event, September 12, Conway Hall, Red Lions Street, London
Discussion on DIAS, chaired by John J. Sharkey, with Ivor Davies, Al Hansen, Gustav Metzger, and Jasia Reichardt, September 20, ICA, London
Self-Destruction, September 22, Mercury Theatre, London
DIAS Final Event: Event-Film, with Mark Boyle, John Latham, Yoko Ono, September 30, Mercury Theatre, London
Entre en discontinuidad (Enter into Discontinuity)
October 8
Buenos Aires, Argentina
La acción encadenada (Chained Action)
October
Exhibition, Antibienal
Córdoba, Argentina
Recorte de contexto (Slice of Context)
October 15–30
Exhibition, Antibienal
Córdoba, Argentina
En el mundo hay sitio para todos (There’s Room in the World for Everyone)
October
Exhibition, Antibienal
Córdoba, Argentina
Simultaneidad en simultaneidad (Simultaneity in Simultaneity, aka Three-Country Happening) with Wolf Vostell in Cologne and Allan Kaprow in New York
October 24
Center for Audiovisual Experimentation
Instituto Torcuato Di Tella
Buenos Aires, Argentina
Para Inducir al Espiritu de la Imagen (To Induce the Spirit of the Image)
October 26
Instituto Torcuato Di Tella
Buenos Aires, Argentina
Sobre Happenings (On Happenings, four remakes: one work by Michael Kirby, two works by Claes Oldenburg, including Autobodies,and Carolee Scheemann’s Meat Joy) November
Instituto Torcuato Di Tella
Buenos Aires, Argentina
Señalamiento de Tres Objetos (Signalling Three Objects)
Buenos Aires, Argentina, 1966; Hyde Park, London; 1968; Slovakia, 1969
Poemas ilustrados (Illustrated Poems)
Literatura oral (Oral Literature )
Instituto Torcuato Di Tella
Buenos Aires, Argentina
Fashion Fiction I (Ears of Gold), 1966–1968
Published in Vogue in 1968 (photographed by Richard Avedon, with Mariano Schiano and Marisa Berenson, models, and Lawrence Alloway’s quotes)
Fashion Fiction I, 1968
Published on the cover of Harper’s Bazaar, ears for collector Lita Hornick, photographed by Hiro, 1969
New York City, U.S.
Intervention
Exhibition opening, Arte Nuevo
Ombligo de Adán, Lima, Per
Mao y Perón un solo corazón (Mao and Perón: A Single Heart)
March 26
Hippie “Be-In,” Central Park, New York City, U.S.
Piano destruction
April
Juan López Moctezuma’s television talk show
Mexico City, Mexico
El helicóptero (The Helicopter)
July 16
Instituto Torcuato Di Tella
Buenos Aires, Argentina
and The Foundation for the Totality
The Paella-Bicycle-Totality-Crucifixion
September
Home of Waldo Díaz Balart, East Hampton, New York, U.S. Included in Andy Warhol’s **** (Four Stars ), 1967 and The Loves of Ondine, 1968
Melting Pot
September 29–30
5th Annual New York Avant Garde Festival
J.F. Kennedy Ferry Boat, Whitehall Terminal, Staten Island Ferry, New York, U.S.
Organized by Charlotte Moorman, with Joseph Beuys, George Brecht, John Cage, Al Hansen, Hi Red Center Group, Dick Higgins, Allan Kaprow, Jean-Jacques Lebel, Yoko Ono, Nam June Paik, Ben Patterson, Tomas Schmit, Carolee Schneemann, Jean Toche, Wolf Vostell, Emmett Williams and La Monte Young.
12 Evenings of Manipulations
October 5–22
Judson Gallery, New York City, U.S.
Organized by John Hendricks, with Malcolm Goldstein, Al Hansen, Bici Forbes Hendricks, Geoffrey Hendricks, Allan Kaprow, Kate Millet, Lil Picard, Steve Rose, Carolee Schneemann, and Jean Toche; Film and performance by Phillip Corner, Takahiko Iimura, Ken Jacobs, Fred Lieberman, Charlotte Moorman, Yoko Ono, Nam June Paik, Tomas Schmit, and Ken Warner.
Henny Penny Piano Destruction Concert with Paper Bag Destruction
Artist’s studio invitational
New York City, U.S.
Frailes déjà vu (Friar déjà vu)
Point X to Hotel Tequendama, Bogotá, Colombia
Mural Efímero (Ephemeral mural)
Billboard on the corner of Génova and Londres Streets, Zona Rosa, Mexico City, Mexico
O Ovo (The Egg)
Rio de Janeiro, Brazil
Mascaras sensoriais (Sensorial Masks)
Rio de Janeiro, Brazil
Minuphone
New York City, U.S.
The Death of White Henny and Black Penny DIAS USA, March 22
Judson Gallery, New York City, U.S.
With Jon Hendricks, Al Hansen, Bici Hendricks, Charlotte Moorman, Hermann Nitsch,
Nam June Paik, and Lil Picard
Destruction Art Group Presents
May 10 –19
Breaks window displaying poster of U.S. President John F. Kennedy
April 30
Exhibition opening, Premio Ver y Estimar
Museo de Arte Moderno, Buenos Aires, Argentina
Minucode
4 cocktail parties; Presentation May 27–June 8
Center for Inter-American Relations
New York City, U.S.
1st Coloration (Colorations series, 1968–present)
Grand Canal, Venice, Italy
Exhibition, Biennale di Venezia
Letter to Jorge Romero Brest, May 13
Exhibition, 1968 Experiences, Instituto Torcuato
Di Tella, Buenos Aires, Argentina
La familia obrera (The Working Class Family)
Exhibition, 1968 Experiences, Instituto Torcuato
Di Tella, Buenos Aires, Argentina
Destruction of their work
Exhibition, 1968 Experiences, Instituto Torcuato
Di Tella, Buenos Aires, Argentina
Proposes to exhibit a pedigreed bull and sell its semen (rejected)
Exhibition, 1968 Experiences, Instituto Torcuato
Di Tella, Buenos Aires, Argentina
“Assault” on Jorge Romero Brest
July 12
Sala, Amigos del Arte, Rosario, Argentina
Apocalipopótese, July 6–28
Exhibition, Arte no Aterro: Um Mês de Arte Pública, Museu de Arte Moderna
Rio de Janeiro, Brazil
Obra Clausurada (Closed Work)
September 9
Ciclo de Arte Experimental, Rosario, Argentina
Dying fountains red
September
Buenos Aires, Argentina
Street “Fight”
September
Argentina
Encierro y escape (Confinement and Escape)
October 8
Ciclo de Arte Experimental, Rosario, Argentina
Señalamiento no. 1, Manojo de semáforos (Signal Point No.1, Bunch of Traffic Lights)
Manifiesto “Primera no-Presentacion Blanca” (“First White No-Presentation”)
October 25
Buenos Aires, Argentina
Three Leaf Piece
December 4
29 W. 57 Street
4 E. 77 Street
103 W. 108 Street
Leo Castelli Galleries, New York City, U.S.
Asfixiones o Enunciados (Asfictions or Statements)
Argentina
Innocente Palacios, producer
Imagen de Caracas (Image of Caracas)
“Dispositivo Ciudad”
Caracas, Venezuela
Piano Destruction Concert
Johnny Carson television show
Performance with monologue and frame
Universidad Católica Madre y Maestra
Dominican Republic
Mandamientos gánicos (Feellikeit commandments)
Buenos Aires, Argentina
Divisor
Rio de Janeiro, Brazil
Oculos sensoriasis (Goggles)
From the Objectos sensoriasis series (Sensorial Objects series)
Rio de Janeiro, Brazil
Oeueotu(TheIandtheYou)
From the Roupa-Corpo-Roupa series (Clothing–Body-Clothing series)
Rio de Janeiro, Brazil
Faites le vous même (Do it Yourself)
Paris, France
Fluvio Subtunal (Subterranea flow) and Terranauts
Buenos Aires, Argentina
Por qué pinto cómo pinto (Why I Paint the Way I Do)
Exhibition, Kinekaligráfica, Alameda Central
Galería de la Ciudad de México, Mexico
Porque son tan geniales? (Why Are We So Great?)
Billboard
Intersection Florida and Viamonte
Buenos Aires, Argentina
Streets and Confederación General del Trabajo de los Argentinos (CGTA trade union offices)
Buenos Aires and Rosario, Argentina
Spontaneous actions while speaking on the popular arts, late 1960s
Santa Clara and other locations, Cuba
The Fashion Show Poetry Event
With work by James Lee Byars, Enrique Castro-Cid, Allan D’Arcangelo, Rubens Gerchman, Alex Katz, Nicolas Krushenick, Les Levine, Marisol, Claes Oldenberg, Roberto Plate, Alfredo Rodriguez Arias, Juan Stoppani, James Rosenquist, Susana Salgado (Pesce), Sylvia Stone, Marjorie Strider, and Andy Warhol
January 14
Center for Inter-American Relations, New York City, U.S.
Slides and videotape, February 12
St. Mark’s Church, New York City, U.S.
Useful Art Works
Included in Street Works I
Featuring works by Vito Hannibal Acconci, Shusaka Arakawa, Gregory Battcock, Scott Burton, James Lee Byars, Rosemarie Castoro, John Giorno, Bill Creston, Stephen Kaltenbach, Les Levine, Lucy Lippard, Bernadette Mayer, Meridith Monk, Ben Patterson, John Perreault, Marjorie Strider, Mr. T., Anne Waldman, Hannah Weiner)
Saturday, March 15
42nd Street – 52nd Street, Madison to Sixth Avenue, New York City, U.S.
A Fire Sculpture
May 22
Grand Ballroom, Mayflower Hotel
Washington D.C., U.S.
at the request of the New York City Board of Education, conceives of El Museo del Barrio
June
Invisible Energy Dictates a Dance Concert
August 11, Smithsonian Institution, Washington D.C. and Cinemateque, New York City, U.S., 1970
FRARMRRIREEROFIBSEATERLR (Robert Morris, Rafael Ferrer)
September 2
Universidad de Puerto Rico-Mayagüez
Puerto Rico
Boycott Grapes
September 19–21
Lunn Gallery
Washington D.C., U.S.
Caca Roaches Have No Friends
November 1969
Belvedere Park, East Los Angeles
California, U.S.
Nage (Swimming)
Paris, France
Tape Poems, First Publication, 500 copies, (including works by Vito Hannibal Acconci, Michael Benedikt, Scott Burton, Ted Castle & Leadro Katz, John Giorno, Joseph Ceravolo, Dan Graham, Bernadette Mayer, Ann Waldman, Lewis Warsh, Hannah Weiner)
New York City, U.S.
El Combate (The Fight)
Exhibition, VI Biennale de Paris, France
Destroys Plataforma II (Platform II)
Early September
Previously exhibited in Siete Objetos Blancos
Ateneo de Caracas, Venezuel
Trouxas Ensanguentadas: SITUAÇAO (Bloody Bundles: SITUATION, 1968 –1970 )
April 17–21
Municipal Park, Belo Horizonte
Minas Gerais, Brazil
Exhibition, From the Body to the Earth
Stamps including words Dirty, Verboten, Fragile, and Act Silently
April 17–21
Municipal Park, Belo Horizonte
Minas Gerais, Brazil
Exhibition, From the Body to the Earth
Sugar on dirt road
April 17–21
Municipal Park, Belo Horizonte
Minas Gerais, Brazil
Exhibition, From the Body to the Earth
Napalm on fifteen-meter banner on grass
April 17–21
Municipal Park, Belo Horizonte
Minas Gerais, Brazil
Exhibition, From the Body to the Earth
Tiradentes: Totem-Monumento ao Preso Político (Tiradentes: Totem-Monument to the Political Prisoner)
April 21
Municipal Park, Belo Horizonte
Minas Gerais, Brazil
Exhibition, From the Body to the Earth
Ocorpoéaobra (The Body is the Work)
May
XIX Salão de Arte Moderna
Museu de Arte Moderna, Rio de Janeiro, Brazil
Deflected Fountain, for Marcel Duchamp
May Plaza fountain, Philadelphia Museum of Art
Pennsylvania, U.S.
50 Cakes of Ice
June 30
Exhibition, Information
Museum of Modern Art, New York City, U.S.
A Stroll in July
July, 6 hours
London, England
La poesia debe ser hecha por todos (Poetry Should be Made by Everyone)
September 30
Hall, Universidad de la República Montevideo, Uruguay
A Date with Fate at the Tate (or, Tate Bait)
October 21
The Tate Museum, London, England
The 7th Day Chicken
October
Sigi Krauss Gallery, London, England
Tubo-O-Nauts Travels
November, 17 hours and 50 minutes
London, England
Señalamiento no. 5, Un paseo visual a la Plaza Rubén Darío (Signal Point No. 5, A Visual Walk through Plaza Rubén Dario )
November 8
Plaza Rubén Dario, Buenos Aires, Argentina
With Juan Downey-filmmaker, Ted Greenwald, and Ginger J. Walker
Fresh Air (Cart), May 1971
Wall Street, New York, U.S.
A Chicano Wedding: The Marriage of María Theresa Conchita and Chingón
June 3
Campus of California State University
Los Angeles, California, U.S.
Letter to the Guggenheim Foundation
June 14
Buenos Aires, Argentina
Stations of the Cross
December 24
Whittier Boulevard to Goodrich Boulevard
East Los Angeles, California, U.S.
El Autobús (The Bus)
Ateneo de Caracas, Venezuela
Crane Ballet
Camden Festival of Music
London, England
Tierra (Earth)
Museo de Arte Moderno Buenos Aires, Argentina
Exhibition, Art in Systems
The Diploma
New York City, U.S.
Untitled Performance
Exhibition, Projects series
Pier 18, New York City, U.S.
Tree Dance
Vassar College, Poughkeepsie
New York, U.S.
Autorretrato. Estructura–Informe (Self Portrait: Structure-Report)
June 9
Lima, Peru
Interppening
August
Sculpture Garden, Museum of Modern Art
New York City, U.S.
(with artist Jorge Gamarra and rural worker A. Rossi)
Traditional Rural Oven for Making Bread September, one day
Exhibition, Art and Ideology in CAYC (Centro de Arte y Comunicación)
Plaza Roberto Arlt, Buenos Aires, Argentina
Walking Mural
December 24
Whittier Boulevard, East Los Angeles
California, U.S.
Spraypaint LACMA (aka Project Pie in De/Face)
Los Angeles County Museum of Art
Los Angeles, California, U.S.
El objeto es el sujeto (The Object is the Subject)
Centro de Arte y Comunicación
Buenos Aires, Argentina
Nicappening
Parke Bernet Gallery, New York City, U.S.
Self Portraits
Facial Cosmetic Variations
Untitled (Death of a Chicken)
University of Iowa, Iowa City, Iowa, U.S.
Performers hide beneath piles of leaves, then run away
112 Greene Street, New York City, U.S.
Cárdena Reheats the Regulier Canal (Cárdena recalienta el Canal Regulier)
Amsterdam, the Netherlands
Cárdena Reheats Mont Blanc (Cárdena recalienta el Monte Blanco)
Yellow Now Gallery, Liege, Belgium
Collective Body (1972–1975)
Sorbonne, Paris, France
Grabados a la rueda (Wheel Prints)
Eleventh Street and Sixth Avenue, Zona One, Guatemala City, Guatemala
Circummambulatio
Rio de Janiero, Brazil
El cuerpo de Giula-no (The Body of Giulia-no )
Biennale di Venezia, Italy
Plato Now
January 7
The Everson Museum of Art, Syracuse
New York, U.S.
Exposição de 0 a 24 horas (Exhibition from 0:00 to 24:00)
O Jornal, Arts & Leisure Section
Sunday, July 15
Rio de Janeiro, Brazil
José Antonio Hernández Amezcua (with Carlos Finck, Víctor Muñoz, Orlando Mendicutti)
Desaparecido (Disappeared)
July–September
Palacio de Bellas Artes, Mexico City, Mexico
Exhibition, A nivel informativo (On an Informational Level)
Carlos Finck (with José Antonio Hernández Amezcua, Víctor Muñoz, Orlando Mendicutti)
El hombre atropellado (The Man That Has Been Run Over)
July–September
Palacio de Bellas Artes, Mexico City, Mexico
Exhibition, A nivel informativo (On an Informational Level)
Kidnappening
August 3–4
Sculpture Garden
Museum of Modern Art, New York City, U.S.
Cuerpo de exposición (Exhibition Body)
Caracas, Venezuela
No-Movies (1973 – ca. 1980)
Los Angeles, California, U.S.
Happening de Gallinas (Hen Happening)
Santiago, Chile
Imagen de Yagul (first Silueta)
Yagul, Mexico
Transformaciones de las masas en vivo (Live Transformations of the Masses)
La Plata, Argentina
Display of the artist himself
Exhibition, Artes Chicles, Chocolates y Cacahuates (Gum, Chocolate & Peanut Arts)
Sala Ponce, Palace of Bellas Artes, Mexico City, Mexico
Installation of a bull
Galería Luigi Marrozzini Old
San Juan, Puerto Rico
Imago Flowing
September 24
Central Park, New York City, U.S.
Untitled (Burial Pyramid)
Yagul, Mexico
Untitled (Blood & Feathers)
Untitled (Blood Sign #2 / Body Tracks)
Fall Iowa City, Iowa, U.S.
Chile sí, junta no (Chile Yes, Military No)
September 11
I.T.T. Headquarters, New York City, U.S.
La Caja de Cachicamo (Armadillo’s Box)
October 20
Parque del Este, Caracas, Venezuela
(later shown at Parque San Felipe El Fuerte, San Felipe, Yaracuy State, May 1, 1975; and in a parking lot, Caricuao, Caracas, October 31, 1975)
The Chilean Flag
Tuesday, November 12
Manhattan Cable Channel D, New York City, U.S.
First Supper (After a Major Riot)
December 24
Arizona Street at Whittier Boulevard
East Los Angeles, California, U.S.
Instant Mural
East Los Angeles, California, U.S.
Clockshower
The Clocktower, lower New York City, U.S.
Charlotte Moorman en Tucacas (Charlotte Moorman in Tucacas)
Tucacas, Venezuela Later shown at International Video Festival
June 4
With works by Nam June Paik, Kosugi, Yoko Ono, Roberto Breer, and Joseph Beuys Museo de Arte Contemporáneo de Caracas
Venezuela
La academia del fracaso (Academy of Failure)
September 26–October 5
Centro de Arte y Comunicación
Buenos Aires, Argentina
Alma Silueta en Fuego (Soul Silouette on Fire)
Iowa City, Iowa, U.S.
Decoy Gang War Victim
Los Angeles, California, U.S.
La Ruta de Hatuey (Hatuey’s Route)
Sailed from the Dominican Republic to Cuba in small canoe
Intervention on 20 city buses
Panama City, Panama
El artista debe estar al servicio de la comunidad (The Artist Must Serve the Community)
Museu de Arte Contemporâne de São Paulo
Brazil (later shown at the XVI Bienal de
São Paulo, Brazil, 1981
Anima, Silueta de Cohetes (Soul, Silhouette of Fireworks)
La Ventosa, Mexico
Mater Dolorosa
Amazon, Brazil
Comunicando con tierra (Communicating with Earth)
Machu Picchu, Peru
Metamorbosis
Chiriquí, David, Panama
Walking Sculpture
West Broadway, New York City, U.S.
Coronation
West Broadway, New York City, U.S.
is founded, supporting avant-garde art forms, including performance, New York City, U.S
Jacob’s Ladder
June
Leipzigerstrasse and Melsungerstrasse
Kassel, West Germany
Exhibition, Dokumenta 6
Superman 51
West Side Highway, New York City
Masks sent to represent the artists
Fall
X Biennale de Paris, France
Cardinal Humors
San Francisco, California
Scene of the Crime
Santiago, Chile
Antonio Mendoza’s salsa band, Chicles (Chewing Gum)
Sound sculpture
Exhibition, Once Tipos (Eleven Guys)
Sala de la Fundación Mendoza
Caracas, Venezuela
La Noche, Yemayá (The Night, Yemayá)
Tuesday, March 21
Franklin Furnace, New York, U.S.
Secuestroplástico (PlasticKidnap) with artist Gunter Gerzo
June 15
Mexico City, Mexico
with Rosa Balsera and José Pérez Mesa
Wrapped
Mid-September
Plaza Antonia Martínez, University of Puerto Rico, Río Piedras
Río Piedras, Puerto Rico
with Rosa Balsera and José Pérez Mesa
Society, (aka Melting Society)
Friday, November 3
Plaza Antonia Martínez, University of Puerto Rico, Río Piedras
Río Piedras, Puerto Rico
Non-invitational performance
Museo Cubano de Arte y Cultura, Miami, Florida, U.S.
Exhibition opening, Re-encuentro Cubano (Cuban Re-Encounter)
(with Mike Osterhout)
Kidnap Attempt
On former artist and political candidate Lowell Darling
San Francisco, California, U.S.
Dormir es una obra maestra (To Sleep is a Masterpiece)
Galleria 9, Milan, Italy
Querido Stella (Dear Stella)
January
International Art Center, Havana, Cuba
Exhibition, Festival de la pieza corta
Brisas del Mar, Havana, Cuba
Alfa Tasgolfo
January
International Art Center, Havana, Cuba
Exhibition, Festival de la pieza corta
Brisas del Mar, Havana, Cuba
Una noche en la opera (A Night at the Opera)
January
International Art Center, Havana, Cuba
Exhibition, Festival de la pieza corta
Brisas del Mar, Havana, Cuba
El pollo canadiense (Canadian Chicken)
January
International Art Center, Havana, Cuba
Exhibition, Festival de la pieza corta
Brisas del Mar, Havana, Cuba
Materiales de pintura (Painting Materials)
January
International Art Center, Havana, Cuba
Exhibition, Festival de la pieza corta
Brisas del Mar, Havana, Cuba
TV Empty, Empty
March 18, 2:00 p.m.
Teatro, University of Puerto Rico, Río Piedras
Para no morir de hambre en el arte (So as Not to Die of Hunger in Art)
October 3
Santiago, Chile
Vaso de leche vertido en cielo azul (A Glass of Milk Spilled under a Blue Sky)
Quinta de Simon Bolívar, Bogotá, Colombia
Action with milk and text
Toronto City Hall, Canada
(with Ian Ireland, Mark Hollander and the Units)
West/East
Tuesday, October 16
Franklin Furnace, New York City, U.S.
Inversión de Escena (Inversion of the Scene)
October 17
Museo Nacional de Bellas Artes, Santiago, Chile
El Obelisco de Pan Dulce (Panettone Obelisk)
December
Exhibition, II Feria de las Naciones
Buenos Aires, Argentina
El fardo (The Bundle)
Morelia, Mexico
Studies on Happiness (1979–1981)
Santiago, Chile
Zonas de dolor (Zones of Pain, 1979–1980)
Brothel and vicinity, Maipú Street
Santiago, Chile
Nacimiento (Birth)
Galería Angel Boscán, Caracas, Venezuela
Mutante en Avenida 0 (Mutant at Avenue 0)
O Avenue, Cienfuegos, Cuba
El hombre y los estrobos (Man and Ropes)
Beach, Cienfuegos, Cuba
Ancestros (Ancestors)
Park, Cienfuegos, Cuba
Patente de taco (Taco Patent)
Guillermo Ochoa’s television talk show
Televisa Studios, Mexico City, Mexico
Action with paint
Ciento Gallery, Barcelona, Spain
O Sermáo da Montanha: Fiat Lux (The Sermon on the Mount: Let There Be Light)
24 hours (conceived 1973)
Centro Cultural Cândido Mendes, Ipanema Rio de Janeiro, Brazil
Pointing out our Margins
Santiago, Chile
Initiates her Acciones de arte (Art Actions)
Santiago, Chile
The Seven Vanishing Points
Cayman Gallery, New York City, U.S.
The Live! Show begins (1979–1984)
Presented on Manhattan Cable Channel J
New York City, U.S.
(with Bruce Pollack)
Bruce and Tony
October 28
On the variety program, The Gong Show
NBC Studios, Los Angeles, California, U.S.
Distributes leaflets threatening to bomb an airplane in protest of Puerto Rico’s political status He receives a six-year U.S. federal prison term for “terrorism;” serves four years.
San Juan, Puerto Rico
1919–1979: La Estrella (The Star)
Galería CAL, Santiago, Chile
Pijao
Video-performance
50th anniversary, Museum of Modern Art
New York City, U.S.
Cicatriz en la mejilla (Scar on the Cheek)
Cover of book, Purgatorio (Purgatory)
Editorial Universitaria, Santiago, Chile
Explanation of empty frames, late 1970s
Mexico
is founded, one of the longest-running Latino theaters producing in English in the U.S.
New York City, U.S.
Lluvia, escultural social (Rain, Social Sculpture)
Sala de la Fundación Mendoza
Caracas, Venezuela
Exhibition, Once Tipos (Eleven Guys)
Higiene Corporal. Mens sana in Corpore Sano (Evento Informal) (Corporal Hygiene: A Sound Mind, A Sound Body; Informal Event)
March 8
Caracas, Venezuela
Dyes Mapocho river red
March 11
Outside Santiago, Chile
Gunpowder piece
Summer
Exhibition, Art Across the Park
Harlem Meer, Central Park, New York City, U.S.
Cada cual con su propio santo (Each with his own Saint)
Teatro la Campana de Valencia, Valencia, Venezuela
Seven performances at Arteología
Araya Lamp Shop, Las Mercedes
Caracas, Venezuela
Montaje de momentos plásticos “La Muerte del Performance” (Staged Artistic Moments: “The Death of Performance”)
Museo de Arte Moderno, Mexico City, Mexico
Feliz Cumpleaños (Happy Birthday)
Exhibition, Indagación de la Imagen
Galería de Arte Nacional, Caracas, Venezuela
Black Beans ‘n Rice
San Francisco, California, U.S.
Annual Avant-Garde Festival
New York City, U.S.
Sala de Espera (Waiting Room)
Galería Sur, Santiago, Chile
Theatre-bar El Cuervo opens
Mexico City, Mexico
Y Sin Embargo, Se Mueven (And Nevertheless, They Move)
Mexico City, Mexico
Rose Acción No. 5 Fur Elisa Oder Elisa Nimm Deine Rose (Action No. 5 For Elisa, or, Elisa Take Your Rose)
Caracas, Venezuela
Infiltrations
Caracas, Venezuela
Integraciones en agua (Integrations in Water)
Bienal de São Paulo, Brazil
Conversación con Agua Tibia (Conversation with Tepid Water)
With Helena Villaloboas, Alfredo del Mónaco (composer) y Héctor Fuenmayor (artist)
41:00
Galería de Arte Nacional, Caracas, Venezuela
Percanta, Sonorous Sculpture; Concerto (performance-sound)
Pinacoteca do Estado, Saõ Paulo, Brazil
La Torre de James Joyce en Pan (James Joyce’s Tower in Bread)
Dublin, Ireland
Poema topográfio (Topographic Poem ) Poema urbano (Urban Poem)
Public spaces
Mexico City, Mexico
Teleinteracto I
Simultaneous video performance
MIT, Vancouver, Tokyo, Vienna, New York
Cambio de aceite (Oil Change)
February 4
Tarapacá Desert, Chile
Persona a Persona (Person to Person)
March 21
Domo Plaza Bolívar, Caracas, Venezuela
Exhibition, Acciones frente a la Plaza
Acción divisoria el espacio (Action Dividing Space)
April 18–19
Domo Plaza Bolívar, Caracas, Venezuela
Exhibition, Acciones frente a la Plaza
(with Enrique Lara and Francisco Palma)
Ceremonia con armas blancas (Ceremony with Sharp-Edged Weapons)
April 19
Plaza, Sala de la Gobernación, Caracas, Venezuela
Exhibition, Acciones frente a la plaza;
Later presented at Foro de Arte Contemporáneo, Mexico City;
Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela
Exhibition, Acciones en Margarita
Nubes para Colombia (Clouds for Colombia), 1980 –1981
May
Museo de Arte Moderno de Medellín
Medellín, Colombia
Exhibition, Primer Coloquio Latinoamericano de Arte No-Objetual;
Later presented Museo de Bellas Artes
Caracas, Venezuela
Exhibition, Acciones frente a la plaza 17–18 October;
and Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela
Exhibition, Acciones en Margarita
Fotografiando Nubes (Photographing Clouds)
May
Museo de Arte Moderno de Medellín
Medellín, Colombia
Exhibition, Primer Coloquio Latinoamericano de Arte No-Objetual
Poesía de acción, Pro-Testa (Action Poetry Pro-Test)
June 19, 20, 21
Domo Plaza Bolívar, Caracas, Venezuela
Exhibition, Acciones frente a la Plaza
Hospitalización por Cálculo Renal (Hospitalization for Kidney Stones)
June 20, 21, 22
Domo Plaza Bolívar, Caracas, Venezuela
Exhibition, Acciones frente a la Plaza
¡Ay, Sudámerica! (Oh! South America)
July 12
Santiago, Chile
Esculturas Rupestres (Rupestrian Sculptures)
July
Jaruco Park, Jaruco, Cuba
¿Y por qué no? (And Why Not?)
August 22–23
Domo Plaza Bolívar, Caracas, Venezuela
Exhibition, Acciones frente a la Plaza
Petróleo Crudo (Crudo Oil)
Summer
Caracas, Venezuela
5th International Festival of Theater
Situación llamada casa (Situation Called Home)
Museo de Bellas Artes
Caracas, Venezuela
(a.k.a. Jennifer Hackshaw and Maria Luisa González)
Symbolism on Identity
Reproduced in Franklin Furnace’s Flue, Vol. 3, Issue 2, Spring 1983
Carlos Gardel de Fuego (Carlos Gardel on Fire)
Bienal de Medellín, Colombia
Ida Pingala I
Festival Internacional de Teatro, Caracas
Venezuela
(later presented 1981 Bienal de São Paulo, Brazil)
Lima en un árbol (Lima in a Tree)
Intersections of avenues Nicolás de Piérola and Rufino Torrico, Lima, Perú
Bolívar, Sinfonía Tropical (Bolivar, Tropical Symphony)
Orinoko, Nuevo Mundo (Orinoco, New World)
Amerika, Terra Incognita (America, Unknown Territory)
Performative films
Caracas, Venezuela
Cuerpo de Premios (Body of Awards)
Salón Michelín, Ateneo Valencia
Valencia, Venezuela
BH/2
Miami, Florida, U.S.
Actions with menstrual blood
Galería San Diego and Salones Atenas
Museo de Arte Moderno, Bogotá, Colombia
Tránsito suspendido (No Through Traffic)
Galería Sur, Santiago, Chile
(in collaboration with Eduardo Pérez)
Un-Realized Projects
Universidad Nacional Autónoma de México, Mexico City, Mexico
Chile 1981, Antes de Partir (Before Leaving)
Santiago, Chile
Opus 1981 / Andante Desesperato
Santiago, Chile
Fight
Terminal Gym and Kezar Pavilion, San Francisco, California, U.S.
Fuoco, Forno, Forma (Fire, Oven, Form)
Piazza San Marco, Venice, Italy
Porno Show
Mexico City, Mexico
found group, Poyesis Genética
San Diego, California, U.S
Caliente-Caliente (Hot-Hot)
January 19
Escuela Nacional de Artes Plásticas San Carlos, Universidad Nacional de Mexico, D.F.
January 21
Museo de Arte Moderno, Mexico City
Para quitarle a Freud lo macho (To Get Rid of the Macho in Freud)
Mask for the performance, Caliente-Caliente by No Grupo with Carlos Zerpa
January 21
Museo de Arte Moderno, Mexico City, Mexico
Oxido: sueños sobre una cama de hielo (Rust, Dreams on a Bed of Ice)
January 23
Casa Aboy, Santurce, Puerto Rico
H2Ombre (H2O-Man)
April–May
The Center for Inter-American Relations, New York City, U.S.
Exhibition, Performance Cycle: Leopoldo Maler, Jonier Marin, Toby MacLennan, Rolando Peña, Geo Ripley, Regina Vater
Dust You Are Earth and Will Became Man
April–May
The Center for Inter-American Relations, New York City, U.S.
Exhibition, Performance Cycle: Leopoldo Maler, Jonier Marin, Toby MacLennan, Rolando Peña, Geo Ripley, Regina Vater
Chatarra (Junk Car)
Spring
Caracas, Venezuela
Sets fire to Margaret Thatcher figure
June
Buenos Aires, Argentina
Escrituras en el cielo (Writing in the Sky)
June 2
New York City, U.S.
Octopus
July 8– August 31
El Museo del Barrio
New York City, U.S.
Ida Pingala II
Bienal de São Paulo, Brazil
On the Line
Miami, Florida
Rastros Corporales (Body Tracks)
Thursday, April 8
Franklin Furnace, New York City, U.S.
Campos de luz (Fields of light)
Across Chile
25 HP
ROSC, Trinity College, Dublin, Ireland
Chorreras rojas sobre fondo azul (Red Streams on a Blue Background)
Escariche, Guadalajara, Spain
Fashion Fiction III (Laminated butterflies)
King, photographer; Shari Belafonte, model
Published in Vogue
New York City, U.S.
is founded by Papo Colo and Jeanette Ingberman in lower Manhattan
The Beach is Nice
13 days, Summer
Santurce, Puerto Rico
Rodolfo Aguerreberry, Julio Flores, and Guillermo Kexel
September 21
III Marcha de la Resistencia
Buenos Aires, Argentina
El Partenón de Libros / Homenaje a la Democracia (The Parthenon of Books / Homage to Democracy)
December
Buenos Aires, Argentina
NO+
Initiated late 1983
Santiago, Chile
Arte en la Fábrica (Art in the Factory)
Havana, Cuba
Striptease (1983–1984)
Photo-performance
Mexico City, Mexico
Against the Current
Bronx River Restoration, New York City, U.S.
Battle Value
Monogram Products
New York City, U.S.
Performance about mental patients
Exhibition of Artistas Visuales Asociados (AVA) at Alliance Française, Lima, Peru
Theatre cooperative, The Divas, opens
Mexico City, Mexico
Fashion Fiction IV, 1983–1984
Photographed by Scavullo for Harper’s Bazaar
New York City, U.S.
Smoke Poems
New York City skies, U.S.
Pepatián founded
Bronx, New York City, U.S.
VENCEREMOS (We Will Overcome)
January
Political march, New York City, U.S.
Mariposas y Maricosas (Butterflies and Queer Things)
September 1984–June 1985
Mexico City, Mexico
San Francisco, California, U.S.
is founded, originally based at the Centro Cultural de la Raza, Balboa Park, San Diego, California, U.S.
Eating of life-size chocolate body replica
Salón Atenas, Bogotá, Colombia
Imaginaria de fusilamiento y muerte en asfalto (Imaginary of Execution and Death on the Pavement)
Intersections, Buenos Aires, Argentina
Enigma
Guadalajara, Mexico
De Carnavales y Funerales (Of Carnivals and Funerals)
Museo de Arte Contemporáneo
Panama City, Panama
Suburbios (Suburbs)
Lima, Peru
Mapa Teatro founded
Bogotá, Colombia
Ondina
Theater group, Acto Latino, Bogotá, Colombia
Common Grave
Lexington, New York, U.S.
Aura Jet Scale Model Flight and Paper Bombing Over Dance Floor
Fire and Ice Club, Miami, Florida, U.S.
Viuda (Widow)
September
Cauce, Hoy, APSI magazines
Santiago, Chile
Mano-plazo
directed by Rosa Luisa Márquez
November 9
Patio, Escuela de Artes Plásticas, San Juan, Puerto Rico
Metro Rail
Miami, Florida
Metro, Miami, Florida, U.S.
Metro Rail, Miami, Survival Kit
Metro, Miami, Florida, U.S.
Limonada for NADA (Lemonade for NADA)
Lowe Art Museum, Miami, Florida, U.S.
Xipófagas capilares (Capillary Siamese Twins)
1985–present
Rio de Janiero, Brazil
Cocinando (Cooking)
PS 1, New York City, U.S.
Offers Andy Warhol corn cobs to pay off Argentina’s foreign debt
The Factory and the Empire State Building, New York City, U.S.
Nubestratos (Stratus clouds)
University of Puerto Rico, Humacao, Puerto Rico
Jumps from the Juan Pablo Duarte Bridge to the Ozama River
Santo Domingo, Dominican Republic
Begins airmail paintings Santiago, Chile
Una bufanda para la Ciudad de Buenos Aires (A Scarf for the City of Buenos Aires)
Adriana Indik Gallery
Buenos Aires, Argentina
Espacio Ingelante (In-Freezing Space)
David, Panama
Del cuerpo al vacío (From the Body to the Void)
I. Danza en un templo griego del siglo XX con sonidos de la ciudad/El Rojo (Dance in a Greek Temple of the 20th Century with Sounds of the City, Red)
II. Pereza/El Negro, (Sloth, Black)
III. Círculo de luz, homenaje a Armando Reverón/El Blanco (Circle of Light, Homage to Armando Reverón, White)
Galería de Arte Nacional, Caracas, Venezuela
San Joaquin c’est un geste (Saint Joachim is a Gesture)
Paris, France
Donkey Cart
January 4
Federal Courthouse, San Diego, U.S.
Pogolotti-Brecht-Siglo XX, February 22–23
Museo Nacional de Bellas Artes, Havana, Cuba
End of the Line (Final de la línea), October
Centro Cultural de la Raza, San Diego; U.S. side, end of the border fence where Tijuana and San Diego meet the Pacific Ocean
La Celda (Cell)
Home in Chaclacayo, Peru
Detritus, Lima
Chaclacayo, Peru
Initiates his actions including Mr. Art, Blind Juror/Blind Critic, Sr. Estetica, Blind Curator/Blind Politician/Blind Artist/Blind Poet, and Dr. Anónimo
San Juan, Puerto Rico
The series, The Body Works
Mexico City, Mexico
Cuadros Móviles (Moving Pictures)
First Prize, Bienal de La Habana, Cuba
Penis and Vagina
UNEAC “Art and Sex” panel, Havana, Cuba
Índice de resbalosidad (Index of Slipperiness)
Monumento Nacional, San José, Costa Rica
Mary Stuart, February
La Mama E.T.C., New York City, U.S.
Madre por un día (Mother for a Day)
Summer
On the morning show, Nuestro Mundo (Our World) with host Guillermo Ochoa
Televisa Studios
Mexico City, Mexico
Action with knife and painting
ASCTC Galería, Managua
Exhibition, RATs
Action with bag of sand and rope
Galería Xavier Kantón, Escuela Nacional de Artes Visuales, Managua, Nicaragua
Exhibition, Me gusta gusta gusta
A Logo For America
Digital animation on electronic billboard
Times Square, New York City, U.S.
USA, Where Liberty is a Statue
Digital animation on electronic billboard
Times Square, New York City, U.S.
Al final todos bailan juntos (In the End, Everyone Dances Together)
Street and Galería L, Vedado, Havana, Cuba
Yo no existo, solo mi intención (I Don’t Exist, Only My Intention)
Havana, Cuba
Burning and burying of a violin
Third Bienal Huanchaco Beach, Trujillo, Peru
Man Painted in Red (Hombre pintado de rojo)
XIX Bienal de São Paulo, Brazil
Parquedades (Paucities)
Bogotá, Colombia
Si esto fuera un principio del infinito (If this were a principle of the infinite)
2 days
Teatro Cuba, Bogotá, Colombia
Rock Campesino (Country Rock)
Arte Calle exhibition opening
Galería L, January 11
Havana, Cuba
Years of the Warrior 1960-Years of the Psyche
1988, March 26–May 22
El Museo del Barrio, New York City, U.S.
Border Door (Puerta de la Frontera)
May 28
U.S.-Mexico border, Colonia Roma and Colonia Altamira, Tijuana
Doves defecating onto dollar bills, to be sent to President Reagan (series begun 1985)
June 4–July 9 Exit Art, New York City, U.S.
Exhibition, The Debt
Ritual–Arte / Cuerpo (Art Ritual / Body), Intersection of Vía blanca y 10 de octubre
Havana, Cuba
originally September 1988; realized again and filmed 1989 by Ritual Art-De
November 4–December 10
Includes: ACT UP (AIDS Coalition To Unleash Power), Chico Alvárez & Nosotros, Al Angeloro, Norma Bessouet, Josely Carvalho, George Cisneros, The Eddie Torres Latin Dance Company, Guillermo Gómez-Peña, Gronk, Roberto Juárez, Kajou, Marcos Kurtycz, Willy “Ninja” Leake, Marcelo Llorens, Los Angeles Poverty Department (LAPD), James Luna, Manuel Alum Dance Company, Marisela Norte, Nuyorican Poets’ Café Revisited, Orquesta Broadway, Catalina Parra, Jonas dos Santos, El Salvador Media Project, Manny Vega, and Donald Woods.
El Museo del Barrio, in collaboration with Creative Time, New York City, U.S.
Action with installation and radio interference
Florence, Italy
Border Brujo initiated
Balboa Park, San Diego, California, U.S.
El paisaje infinito de la costa del Perú (The Infinite Landscape of Costal Peru)
Centro Cultural de la Municipalidad Miraflores
Lima, Perú
Exhibition, Interrupción
No queremos intoxicarnos (We don’t want to be intoxicated)
Japan
Unión Nacional de Escritores y Artistas de Cuba, Havana, Cuba
Originales fáciles de adquirir (Easy-to-acquire Originals)
Havana, Cuba
El Indio / The Indian
Very Good Rauschenberg
Press Conference with Robert Rauschenberg for ROCI-Cuba
Museo Nacional de Bellas Artes, Havana, Cuba
El Concilio de amor (The Council of Love)
Mexico City, Mexico
Huella de sangre (Blood Sign, the first of the artist’s remakes of Ana Mendieta’s work)
Fototeca de Cuba, Old Havana, Cuba
Exhibition, No por mucho madrugar
El Eco de Umberto (Umberto’s Eco)
Fototeca de Cuba
Havana, Cuba
Meta Zero
Casa de Cultura, Plaza, Havana, Cuba
Castillo de la Real Fuerza: Ciencia e Ideología (Castle of the Royal Force: Science vs. Ideology)
April–May
Castillo de la Real Fuerza, Havana, Cuba
Sutura (Suture)
In the project, The City of Art
Quarry, La Plata, Argentina
Punto de fuga (Vanishing Point)
Museo de Arte de la Universidad Nacional de Colombia, Bogotá
Vitrina (Shop Window)
Encuentro Latinoamericano de Arte Popular
Bogotá, Colombia
Exhibition, 10 poético cotidiano
Ancestor Painted Red (El ancestro con el cuerpo pintado de rojo)
Several locations, including Paris, France; Jarash, Jordan; and London, England
Chroma
Guadalajara, Mexico
La conquista de América (The Conquest of America)
Chilean Human Rights Commission Office
Santiago, Chile
Founds Bar Bolivia, and creates satirical fashion shows
Buenos Aires, Argentina
Metamorfosis Microbrigada, 1989–1990: Final Action Censored
Havana, Cuba
Hair Grows / Self-portrait (El pelo crece / Autorretrato)
Old Havana, Cuba
Juego de pelota (Baseball Game)
La plástica joven se dedica al baseball, por la recreación, la cultura física y el deporte! (Cuban Visual Artists Dedicate Themselves to Baseball, For Recreation, Physical Culture and Sport!)
José Antonio Echeverría Sports Center, Vedado
University of Havana, Cuba
later CAPataco (Colectivo de Arte Participativo- Tarifa Común)
A Candle for Chile (Vela x Chile)
Bicycles to China (Bicicletas a la China)
“participatory banners” (“afiches participativos”)
1980s
Buenos Aires, Argentina
La toma del Balmori (Taking Over the Balmori)
March
Colonia Roma, Mexico City, Mexico
With Eloy Tarcisio, Eugenia Vargas, Abraham Cruzvillegas, Thomas Glassford, and Alejandro Díaz.
Sacrifice II, 4.13.90: The River Pierce
Friday, April 13
San Ygnacio, Texas at the Río Grande, U.S.-Mexican border
Border Sutures (Suturas de la frontera), August
2000 miles from Brownsville, Texas to Tijuana
Los dos Fridas (The Two Fridas), 3 hours
Galería Bucci, Santiago, Chile
La Casa Nacional (The National House)
Havana, Cuba
En memoria de Halabja, ciudad de las imágenes silenciosas (In Memory of Halabja, City of Silent Images)
David, Chiriquirí, Panama
Desatorador (Unclogger)
Streets of Lima, Perú
Una Cosa es Una Cosa (A Thing is a Thing)
120 minutes
XXXIII Salón Nacional de Artista, Bogotá, Colombia
Heavy Nopal (Ode to Lucha Reyes)
Mexico
Cielo de abajo: cabaret prehispánico (The Sky Below: Prehispanic Cabaret)
Mexican Fine Arts Center Museum Chicago, Illinois, U.S.
La esperanza es lo último que se está perdiendo (Hope is the Last Thing That is Dying)
Centro de Desarollo de Artes Visuales, Havana
Exhibition opening, El Objeto Esculturado
(The Sculptural Object)
1991, A Performance Chronicle (The Rediscovery of America by the Warrior for Gringostroika)
October 15–19 Next Wave Festival, Brooklyn Academy of Music
Brooklyn, New York City, U.S.
In Memoriam A.G.M.
November
Evanston, IL, U.S.
Broken Hearts
Dance Theatre Workshop, New York City, and Colorado Dance Festival, Boulder, Colorado, U.S.
The Collector (1991–1992)
Mexico City, Mexico
“Untitled” (Go-Go Dancing Platform)
wood, light bulbs, acrylic paint, and go-go dancer in silver lamée bikini (when installed publicly)
Platform: 21.5 x 72 x 72 inches
“Untitled” (Welcome Back Heroes)
Bazooka bubble gum, individually wrapped in red-, white-, and blue-colored paper (endless supply)
Dimensions vary with installation
Ideal weight: 440 lbs
Private Collection, Paris
Ouroboros
Courtyard, Universidad de Buenos Aires
School of Philosophy and Literature
Buenos Aires, Argentina
Action in Mexico, October
Exhibition, Si Colón supiera.... (If Columbus Had Known . . .)
Museo de Monterrey, Monterrery, Mexico
Indigurrito
Theatre Artaud, San Francisco, California, U.S
Year of the White Bear: Two Undiscovered
Amerindians Visit the West (1992–1994)
Edge ‘92 Festival, London, England and Madrid, Spain;
Whitney Museum of American Art, New York City, U.S.;
The Smithsonian Institution, National Museum of Natural History, Washington, D.C., U.S.;
The Australian Museum of Natural History, Sydney, Australia;
Field Museum, Chicago, Illinois, U.S.;
Art Gallery, University of California-Irvine, U.S.
Remake (1992–1995)
Including remakes of Bruce Nauman, Bouncing the Corner (1968), Vito Acconci, Saliva Studies (1971), and Paul McCarthy, Black and White Tapes (1972) Mexico City, Mexico
Rosa does Joan
On the talk show, The Joan Rivers Show
New York City, U.S.
La Ruta de Hatuey (Hatuey’s Route): reprise of ca.1975 action
Sailed down the Ozama River in small canoe, shot arrows at the Columbus Lighthouse
Santo Domingo, Dominican Republic
Esta tierra es mi cuerpo (This Earth is my Body)
Exhibition, Ante América, Biblioteca Luis Ángel
Arango, Bogotá, Colombia
Tú eres santo (You are Holy)
Museo de Arte Moderno, Bogotá, Colombia
Espacio disponible (Space Available)
Buenos Aires, Argentina
Touched by Light
Thursday May 7, 8:00–11:00 pm
Broadway to Prince Street, West Broadway to Houston Street, 6th Avenue to Central Park South, 5th Avenue to 8th Street, Broadway to Prince
New York City, U.S.
Headlines: Voices from the Conquered–1992
San Diego, California, U.S.
Los Anthropolocos
1992–present
San Diego, California, U.S.
Museum Tags: Second Movement (Overture con Claque –Overture with Hired Members)
Altered museum admission tags
Whitney Museum of American Art
New York City, U.S.
Exhibition, The Whitney Biennial
Arte Reembolso / Art Rebate
July–September
San Diego, California, U.S.
Border Boycott / Boicott, (1993, 1996)
San Ysidro Border Crossing, November 21–22
California-Mexico border
Memoria de la postguerra (Memory of the Post-War)
Newspaper, initiated November
Havana, Cuba
Kunst = Kapital (Reprise of I Like America and America Likes Me, Joseph Beuys, 1974)
Museo Nacional de Artes Visuales de Montevideo, Uruguay
Maresca se entrega todo destino (Maresca Offers Herself to Destiny)
Photo-performance, shot by Alejandro Kuropatwa and printed in erotic magazine, El Libertino
Buenos Aires, Argentina
Los Harapos de la Realité de la Machine de la Couture (Rags of Reality from the Machine of Couture)
Centro Cultural Recoleta
Buenos Aires, Argentina
Writing on the desert / Escritura en el desierto
Atacama Desert, Chile
Photograph by Chilean Air Force
Estoy tan triste (I am so sad)
Streets of Santiago, Chile
Oh Goya! Goya!
February 11
Franklin Furnace, New York City, U.S.
Lavatio Corporis
Museo de Arte Carrillo Gil
Mexico City, Mexico
El Puerto Rican Passport
Including El Puerto Rican Embassy Manifesto by Rev. Pedro Pietri
Official Passport of El Puerto Rican Embassy - El Spirit Republic de Puerto Rico
Initiated at Kenkeleba House exhibition; first issued to public at El Museo del Barrio, 1996
Milk of Amnesia
PS 122, New York City, U.S.
Magnetic Shoes
Bienal de La Habana, Cuba
Yo tengo SIDA (I Have AIDS)
T-shirts
Buenos Aires, Argentina
A Corazón abierto (Open Heart)
NAFTA performances
Mexican Fine Arts Center Museum
Chicago, Illinois, U.S.
Proyecto Gloria Evaporada (“Evaporated Glory” Project)
Gallery, School of Fine Arts, Universidad Nacional Mayor de San Marcos
Intervention, wall of Vía Expressa, 1995 March toward Federal Congress, June 23, 1995
Lima, Perú
Yagrumo “La Diosa Charca” (Yagrumo, the God of the Pool)
Entre viento, sol y marea (Beween Wind, Sun, and Sea )
Old San Juan, Puerto Rico
This is Not América
Oregon, U.S.
How to Con a Capitalist
Belfast, Ireland
Identity Transfer
Lima, Perú
America the Beautiful, 1995–1998, 2002
Lima, Peru, Hemispheric Institute of Performance and Politics Encuentro, organized by Tisch School of the Arts;
Mardi Gras, Sydney, Australia;
Diviasiones, Madrid, Spain;
Body Act, Malmo, Sweden;
Update, Copenhagen, Denmark;
Terreno Peligroso / Danger Zone, University of California, Los Angeles; X-Teresa, Arte Alternativo, Mexico City;
Bay Area Dance Series, Laney College, Oakland, CA;
Fierce Tongues: Women of Fire Festival, Highways, Santa Monica, CA;
Post-Colonial California, San Francisco State University;
1994 A Day Without Art, Southern Exposure;
La Panadería, Mexico City;
Mirror, Mirror, California College of Arts and Crafts, Oakland, CA;
Sor Juana Festival, Mexican Fine Arts Center Museum, Chicago, Illinois;
Junge Hunde, Kampnagel, Hamburg, Germany;
Bimbotown, Liepzig, Germany;
International Festival of Physical Theatre, Jerusalem, Israel;
Diverse Works, Houston, Texas
PerforMANcena
Mexico City, Mexico
Hacia lo sagrado (Towards the Sacred)
Bogotá, Colombia
The Leak
São Paulo, Brazil
Cada artista que se va es un fragmento que se pierde (Every Artist That Leaves Is a Fragment That Gets Lost)
Espacio Aglutinador, Havana, Cuba
Todos Mis Muertos (All My Dead)
November 1
El Museo del Barrio, New York City, U.S.
Escraches intiated
Buenos Aires, Argentina
Simulated “death” (1996–2001)
Buenos Aires, Argentina and New York City, U.S.
Street action
Avenues Javier Prado and Aviación, across from the Museo Nacional, Lima, Peru
Ensayo de recuperación de moléculas de ADN en hematocitos de rata I (Study of the Recuparation of DNA Hematocites of Rat I)
Taped audio-performance
Lima, Perú
Divina proporción (Divine Proportion)
Second prize, XXXVI Salón Nacional de Artistas
Bogotá, Colombia
Cuerpo Politizado (Politicized Body)
Los Angeles, California, U.S.
She is a Virgin and She Awaits You
Barcelona, Spain
Piedras Pintadas (Painted Stones), September
Autopista del Este, Caracas, Venezuela
Señorita de buena presencia buscando empleo (Good-Looking Woman Seeking Employment)
October 30
Bienal Iberoamericana de arte
Museo de Arte de Lima, Perú
A propósito (Purposefully)
Mexico City, Mexico
Caida libre (Free Fall)
Havana, Cuba
STUFF! 1997–1998
Corpus Delecti, Institute of Contemporary Arts, London;
Review of Live Arts, Glasgow, Scotland;
Ex-centrics, Vordingborg, Denmark;
Highways, Santa Monica;
Portland Institute of Contemporary Arts, Oregon;
The Art Gallery of New South Wales, Sydney, Australia;
Otago Polytechnic University, Dunedin, New Zealand;
Art Space, Auckland, New Zealand;
Conscious Chronicles, The Mac, Dallas, Texas;
University of Michigan, Ann Harbor, Michigan;
The Western Front, Vancouver BC;
The Painted Bride, Philadelphia, Pennsylvania;
Dixon Place, New York;
Rhode Island School of Design;
Antioch University, Yellow Springs, Ohio
Día sangriento (Bloody Day)
San José, Costa Rica
Amorales v. Amorales
Interior v. Exterior
Mexico City, Mexico
Cardoso Flea Circus
Fabric Workshop and Museum, Philadelphia, Pennsylvania, U.S.
Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing)
9 hours
Mexico City, Mexico
Turista (Tourist)
Zócalo, Mexico City, Mexico
The Burden of Guilt (1997–1999)
Bienal de La Habana, Cuba
1265 KM
Bienal de La Habana, Cuba
The Architecture of Seeing: A Performance Piece for the New Millenium on the Nature of Identity, 1997
New York City, U.S.
founds PerfoPuerto
Valparaiso, Chile
February 8–May 10
Museum of Contemporary Art, Los Angeles
California, U.S.
The Electronic Disturbance Theater (EDT)
April
Internet
El Mexterminator, June 9–28
El Museo del Barrio, in collaboration with Creative Time
El Museo del Barrio, New York City, U.S.
The Green Line
Jerusalem, Israel
Tarjetas para picar (Cards for Cutting [Cocaine])
Mexico and Colombia
Las lecciones
The Lessons (1998–2000)
Three videos-performances
San José, Costa Rica
Displacement: Embodying a Nkisi Nkonde Icon
Havana, Cuba
Sub-Lima chocolates
Lima, Peru
Recuerdo (Memory)
Faculty of Letters and Human Sciences
Universidad Nacional Mayor de San Marcos
Lima, Peru
465 Paid People
October
Museo Rufino Tamayo, Sala 7
Mexico City, Mexico
Adventures of Connie Chancla
1998 Commission, University of California Los Angeles
César Chavez Center for the Interdisciplinary Study of Chicanas and Chicanos
Los Angeles, California, U.S.
Duet
Venice, Italy
Bathing the Baby, 1999
Entierro (Burial), 1999
Mexico City, Mexico
Cloud Net
World Trade Center area, New York City, U.S.
Photo-performance, 5 mitos nacionales según
Jesusa Rodríguez (Five National Myths According to Jesusa Rodríguez)
Magazine, Vice Versa 74
Mexico City, Mexico
Reorganizando la casa, “Calle Luna” (Reorganizing the House, “Moon Street”)
Old San Juan, Puerto Rico
Yo no me llamo Juanita (Don’t call me Juanita)
Lima, Perú
Crisis
Lima, Peru Exhibition, Emergencia artística
El dolor en un pañuelo (The Pain the Handkerchief)
Plaza G&T, Guatemala City, Guatemala
PAI Group project, Sin pelos en la lengua
The Shadow
Plaza G&T, Guatemala City, Guatemala
PAI Group project, Sin pelos en la lengua
El cielo llora tanto que de debería ser mujer (The Sky Weeps So Much it Should Be a Woman)
Belia de Vico Galería, Guatemala City, Guatemala
Título de Propiedad (Ownership Title)
Belia de Vico Galería, Guatemala City, Guatemala
Ave Fénix (Phoenix)
Guatemala City, Guatemala
Poesía salida del pecho (Poetry from the Bosom)
Guatemala City, Guatemala
Exhibition, II Festival of the Historic Center
Lo voy a gritar al viento (I Will Shout it to the Wind)
Post Office Building
Guatemala City, Guatemala
Exhibition, II Festival of the Historic Center
Para la superficie (For the Surface)
Central Park, Guatemala City, Guatemala
Stain of 55,000 Dots
Newspaper intervention, Guatemala City, Guatemala
La distancia entre dos puntos (Distance Between Two Points)
Streets, Guatemala City, Guatemala
Crosses, Zocalo
Mexico City, Mexico
El artista plástico (Plastic Artist)
Havana, Cuba
El entierro de la ONPE (The Burial of the National Office of Electoral Processes)
24 hours
April 9
Lima, Peru
Todos estamos muriendo (We Are All Dying)
May
National Auditorium in San José, Costa Rica
Symposium, Central Themes
Lava la bandera (Wash the Flag) Fridays, May 24–November 25
Plaza Mayor, Lima, Peru
Chalk, June 13, “Museum Mile,” Fifth Avenue
Exhibition, El Museo’s Bienal: The (S) Files
El Museo del Barrio, New York City, U.S.
With Rafael Ortega
Reenactment, 12 minutes, November
Mexico City, Mexico
Punto en movimiento (Point in Movement)
Guatemala City, Guatemala
Linea de 12.000 puntos (Line of 12,000 Dots)
Monterrey, Mexico
Action with charcoal in the street
Contexto, Guatemala City, Guatemala
The Loan
Guatemala City, Guatemala
Ciudad en espera (City in Hope)
Intervention on the exterior wall of the Guido Fuentes Secondary School
Havana, Cuba
initiates Venus Project (microsociety and currency)
Buenos Aires, Argentina
Untitled (Havana 2000)
Bienal de La Habana, Cuba
Terreno de Experiencia I (Field of Experience I)
Lima, Peru
Encierros (Enclosures)
Exhibition, Parenthesis
Zoológico La Aurora, Guatemala City Guatemala
No perdemos nada con nacer (We Don’t Lose Anything By Being Born)
City-wide festival, Octubre Azul
Guatemala City, Guatemala
Valium 10
Museo Ixchel Guatemala
Guatemala City, Guatemala
Exhibition, Vivir Aqui
90 minutes with 25,000 fly larvae
Museo Ixchel Guatemala
Guatemala City, Guatemala
Exhibition, Vivir Aqui
La Época
La Época Department Store
Havana, Cuba
Hielo (Ice), 2000
(reprisal of Marina Abramovic’s The Lips of Thomas, 1975)
Instituto Superior de Arte, Havana, Cuba
Amarrados (Tied Up)
(reprisal of Linda Montano and Tehching Hsieh’s The Year of the Rope, 1983–1984)
Instituto Superior de Arte, Havana, Cuba
Rules of the Game (2000–2001)
La Libertad, Tijuana
Exhibition, InSite 200