The Lifeworks of TEHCHING HSIEH
We are thrilled to announce that we are bringing the legendary artist TEHCHING HSIEH to campus next week! Hsieh is offering a lecture and workshop, and before his visit we are screening and discussing his work.
Tuesday, May 5, 7:00pm
We will screen and discuss Hsieh’s work in anticipation of his visit.
Thursday, May 7, 7:00pm
This workshop will allow for discussion with Tehching Hsieh in a more intimate format.
Email email@example.com to RSVP.
Thursday, May 7, 7:00pm
In this engaging public lecture, Tehching Hsieh will discuss his durational performance works.
If you would be interested in a studio visit or other conversation with Tehching Hsieh, contact firstname.lastname@example.org — limited spots available.
Tehching Hsieh is a foundational performance artist who enacted a series of durational works that bracketed everyday life as performance, testing the limits of blurring art and life. During Hsieh’s first three One Year Performances, One Year Performance 1978-1979: Cage Piece, One Year Performance 1980-1981: Time Clock Piece, and One Year Performance 1981-1982: Outdoor Piece, he confined himself spatially and temporally throughout the year-long duration of each piece, living in a cage in his gallery with very little human contact, requiring himself to clock in to a time clock in his gallery every hour on the hour, and living outdoors. Each of these pieces radically changed Hsieh’s everyday life, as the demanding rules of each piece supplanted his ability to perform regular, everyday activities. Departing from the form of his first three year-long performances mapped onto the time-space of life, Hsieh’s fourth piece, Art/Life One Year Performance 1983-1984: Rope Piece with Linda Montano, embedded the year-long performance into life. Throughout the duration of the piece, Hsieh and Montano, a fellow performance artist researching life/art practice, were tied together with a rope of eight feet, literalizing the process through which subjects constrain and enable each other’s subjectivities. His fifth One Year Performance was a rejection of art-making, and this was followed by a thirteen year performance during which he would make art but not show it publicly. Formally disrupting the separation between art and life, Hsieh’s work imbues the temporal processes of daily life with aesthetic awareness and ethical attention to others.
Presented by Art + Scholarship A.W. Mellon Workshop and Visual Cultures Student Focus Group with generous support from Center for the Humanities and Associated Students of Madison. Co-sponsored by Art, Art History, Asian American Studies, English, Communication Arts, and Center for Visual Cultures.
All events are free and open to the public.