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Vůbec poprvé v historii současného arménského umění se umělec ukázal úplně nahý: snímek zepředu, z profilu a zezadu. V té době byla veřejnost pohoršená situací, kde se umělec stal objektem své vlastní umělecké práce.
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Such was Sargsyan’s interaction with the audience. While at After the Wall visitors merely stepped over Sargsyan, in San Paolo he was injured when people actually used him as a doormat, wiping their feet on him — women’s high-heels were especially painful. All of this calls to mind the performance by the Russian action artist and performer Oleg Kulik in which the artist identifies with a dog, a dog that was cruelly treated in one performance in Russia, where it suffered a beating. In Amsterdam people came up and caressed Kulik, this “barking and attacking dog,” while also offering their assistance. Undoubtedly, Kulik’s performance is much more extreme than Sargsyan’s: an attack by exhibition visitors in one case and direct relation to people in the street in the second. However, in both performances the artists consciously initiated direct communication with the audience. In both cases, the audience became an immediate participant of the performance; and the performance results depend on the audience.
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Such was Sargsyan’s interaction with the audience. While at After the Wall visitors merely stepped over Sargsyan, in San Paolo he was injured when people actually used him as a doormat, wiping their feet on him — women’s high-heels were especially painful. All of this calls to mind the performance by the Russian action artist and performer Oleg Kulik in which the artist identifies with a dog, a dog that was cruelly treated in one performance in Russia, where it suffered a beating. In Amsterdam people came up and caressed Kulik, this “barking and attacking dog,” while also offering their assistance. Undoubtedly, Kulik’s performance is much more extreme than Sargsyan’s: an attack by exhibition visitors in one case and direct relation to people in the street in the second. However, in both performances the artists consciously initiated direct communication with the audience. In both cases, the audience became an immediate participant of the performance; and the performance results depend on the audience.
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Such was Sargsyan’s interaction with the audience. While at After the Wall visitors merely stepped over Sargsyan, in San Paolo he was injured when people actually used him as a doormat, wiping their feet on him — women’s high-heels were especially painful. All of this calls to mind the performance by the Russian action artist and performer Oleg Kulik in which the artist identifies with a dog, a dog that was cruelly treated in one performance in Russia, where it suffered a beating. In Amsterdam people came up and caressed Kulik, this “barking and attacking dog,” while also offering their assistance. Undoubtedly, Kulik’s performance is much more extreme than Sargsyan’s: an attack by exhibition visitors in one case and direct relation to people in the street in the second. However, in both performances the artists consciously initiated direct communication with the audience. In both cases, the audience became an immediate participant of the performance; and the performance results depend on the audience.
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