Knowledge (XXG)

Tehching Hsieh

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In his third one-year performance piece, from 26 September 1981 through 26 September 1982, Hsieh spent one year outside. He did not enter buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents, with one exception: he was arrested and brought into the police station for a
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For one year, from 11 April 1980 through 11 April 1981, Hsieh punched a time clock every hour on the hour. Each time he punched the clock, he took a single picture of himself, which together yield a 6-minute movie. He shaved his head before the piece, so his growing hair reflects the passage of time.
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the entire process and made sure the artist never left the cage during that one year. His loftmate Cheng Wei Kuong came daily to deliver food, remove the artist's waste, and take a single photograph to document the project. In addition, this performance was open to be viewed once or twice a month
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In this performance, which lasted from 29 September 1978 through 30 September 1979, the artist locked himself in an 11.5-by-9-by-8-foot (3.5 by 2.7 by 2.4 m) wooden cage, furnished only with a wash basin, lights, a pail, and a single bed. During the year, he did not allow himself to talk, to
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spent one year between 4 July 1983 and 4 July 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in the same room when inside, but were not allowed to touch each other until the end of the one-year period. Both shaved their hair in the beginning of the year, and the
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From 1978 to 1986, Hsieh accomplished five One Year Performances; from 1986 to 1999, he worked on what he called his "Thirteen-Year Plan". On 1 January 2000, in his report to the public, he announced that he had "kept himself alive". He has stopped making art since then.
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For one year, Hsieh unaffiliated himself with art in any way possible: he did not create any art, didn't talk about art, didn't look at anything related to art, didn't read any books about art, and did not enter any art museum or gallery.
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At the beginning of this epic piece, Hsieh declared, "Will make Art during this time. Will not show it publicly." This plan began on his 36th birthday, 31 December 1986, and lasted until his 49th birthday, 31 December 1999.
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At the end, on 1 January 2000 he issued his concluding report, "I kept myself alive. I passed the December 31st, 1999." The report consisted of cutout letters pasted onto a single sheet of paper.
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nor consciously motivated by a desire to suffer (although they have been described as ordeals), but rather are explorations of time and of struggle. According to the American cultural critic
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total of 15 hours. It came after he wielded nunchucks in self defense during a street altercation. He spent the year moving around New York City with a backpack and a sleeping bag.
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A little after 1999, Hsieh declared he was no longer an artist. He has, however, continued to give interviews to an art audience. He has expressed that he likes the work of
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in New York also showed one of his works the same year as part of its retrospective exhibition, "The Third Mind: American Artists Contemplate Asia: 1860–1989."
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Biggs, Domela, Waldron and Kirk (eds) "Liverpool Biennial International Festival of Contemporary Art The Guide". Liverpool Biennial of Contemporary Art Ltd.
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In 1973, Hsieh documented himself jumping out of a second-story window in Taiwan, and breaking both of his ankles on the concrete.
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Documentation of this piece was exhibited at the Solomon R. Guggenheim Museum in 2009, using film, punch cards and photographs.
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with documentation, essays by academics and artists and an extended conversation. The year after its release, he told the
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Taipei Fine Arts Museum official website – The Taiwan Pavilion "Doing Time" at the 57th Venice Biennial
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During the summer of 2017, this piece was displayed at the Tate Modern Art gallery in London.
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He is most known for six durational performance pieces completed between 1978 and 2000.
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Hsieh was one of 15 children from a family in southern Taiwan. He dropped out from
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Official website – The Taiwan Pavilion "Doing Time" at the 57th Venice Biennial
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embarked on a series of live actions broadcast by streaming on the Web named
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read, to write, or to listen to radio and TV. A lawyer, Robert Projansky,
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In his 2013 list of the greatest performance art works, Dale Eisinger of
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This work was the first of Hsieh's ever to be displayed in the UK at the
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in 2017 featured Hsieh's work in an exhibition titled "Doing Time".
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Couple in The Cage: Two Undiscovered Amerindians Visit the West
1022: 975: 186:. He has been called a "master" by fellow performance artist 716:"Taiwan Features Tehching Hsieh at the 2017 Venice Biennale" 269:, the show led to a larger recognition of Hsieh's work. The 743:"The Performance Artist Who Went To Impossible Extremes" 382:
Art / Life: One Year Performance 1983–1984 (Rope Piece)
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Russeth, Andrew, "When the Only Thing Left Is Time,
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Delia Bajo; Brainard Carey (August–September 2003).
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Index

Traditional Chinese
Simplified Chinese
Standard Mandarin
Hanyu Pinyin

MoMA
Nan-Chou
Pingtung County
Taiwan
performance artist
Marina Abramović
high school
paintings
compulsory military service
Taiwan
Delaware River
Philadelphia
New York City
MIT Press
monograph
Museum of Modern Art
Klaus Biesenbach
Solomon R. Guggenheim Museum
Adrian Heathfield
Venice Biennale
notarized
Liverpool Biennial
Complex
Linda Montano
notarized

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