Tate’s recent outdoor fireworks (see p.30), which barely managed to splutter to a weak flare on 31 January, were to mark the opening of a programme of live art. Their failure is a demonstration of the pitfalls of art in the live, as well as its ability to make people concentrate on the here and now—in this case standing by the Thames in the snow. Despite organisational problems , Tate has been bold and has much more planned for a three-day extravaganza this month (27-30 March). “Live culture” opens with actions by Russia's Oleg Kulik, making his London debut with “Armadillo for your show” in which he will spin above the audience like a human mirror ball. Performances over the following days include a performance installation “Ex-Centris (A living diorama of fetish-ized others)” by US/Mexican artist Guillermo Gómez-Peña, as seen recently at the Liverpool Biennial. Red-haired Spanish movement artist La Ribot (below), known for her naked dance which makes much use of the floor, will present “Panoramix 1993-2000”, the complete series of “Distinguished pieces”. Forced entertainment, from Sheffield, will perform the durational works “Quizoola!”, a marathon game in which three performers interrogate each other with thousands of questions, and “12am: awake and looking down”, where five silent performers endlessly reinvent their identities using cardboard signs and a vast store of jumble sale clothing. The programme closes on 30 March with Franko B's bloodletting “catwalk” performance “I miss you!”. Each performance happens only once and tickets are required.
Originally appeared in The Art Newspaper as 'What's on: Live Culture'