John Herman

exploring the space trough art

04/10/2024

PUPPETS OF POWER IN TIMES OF CHOLERA - THE ART (of) WAR

19th October 2024 | Wiesbaden-Germany (further information coming soon)
In the framework of goWEST Festival .festival
photo credit: Matthias Drobeck

With the performance ‘PUPPETS OF POWER IN TIMES OF CHOLERA - THE ART (of) WAR’, John Herman explores the diverse socio-cultural connections between the individual and power as a concept of psychological control and its destructive effects on the political economy, social structures, culture, art, aesthetics and sexuality.

With his intervention, the Cologne-based performance artist invites the audience to take a more individualised look behind the scenes of the GERMAN ZEITENWENDE (turning point of an era), the ability to defend oneself and the revanchist desires of the supposed ‘MAINSTREAM’.

03/09/2024

IN THE FRAMEWORK of GO WEST FESTIVAL 2024:
cRIP lab no. 4 - PHOEnix 2.0
By John Herman
08.09.2024 - 06:00
Günes Theater - Rebstöcker Str. 49d
60326 Frankfurt am Main
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Powered by .festival
Supported by: .prothesenwerkstatt
The Performance collective ‚Andpartnersincrime‘ will also take part in that performance evening.
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In his performance PHOEnix 2.0, John Herman explores the question of the extent to which regulation of the human body by social norms and values in social interaction influences the striving for individual and social control of the body - explicitly examining his own supposed ‚disability‘ through a performative lens.
In doing so, he invites the audience to re-think the relationship of human bodies in social interactions to power dynamics, time, space, privilege and vulnerability.
PHOEnix 2.0 is the fourth in a series of performances under the label ‚cRIP lab‘ that explore the variety of physical abilities as an allegory of social and political diversity.

13/08/2024

C A M O U F L A G E

All artists draw from their lives, except they mask it and camouflage it... which is the smarter way to do it. - John Leguizamo

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Photo credit: aka Daniel Fragoso

Performance by John Herman, 2023, 'IS THIS ART', Esch sur Alzette,

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Camouflage was and is one of the most important techniques of survival. This is not only the case in the animal world, but is also fundamental to social and economic life. We often come across talking 'masks' that only rarely allow an insight into the real world of thought of the person involved. I am no exception, even though I tend to be more open and direct.
In the last 8 months in particular, I have camouflaged myself enough. As far as I could, I left my disease "LONG COVID" out of the equation. Nobody likes to deal with it. The way I see it, I don't seem to need to do that any more. The energy is returning more and more, even if I keep suffering setbacks on the road to recovery. But that's part of the game. I'm now looking forward to preparing for two performances that are due to take place in September and October 2024. I'm not yet sure whether I'll be able to do it physically, but I'm working on it. Let's see how it turns out. I'll let you know, without C A M O U F L A G E.

16/10/2023

WAITING FOR GODOT IN TIMES OF WAR or NEGOTIATIONS NOW! - END ALL WARS! | „All warfare is based on deception.” — Sun Tzu | "Puppets of Power" performance by John Herman, documented by Matthias Drobeck, 2018

18/08/2023

IS THIS ART
Performance by John Herman

"What is art?” is the most basic question in the philosophy of aesthetics, which really means, “How do we determine what is defined as art?". Today, an army of art critics, gallery owners, museums and art academies claim to decide what is art and what is not art. Often their definitions are to be understood as guiding narratives that assess the nominal value of a work to make them manageable on the art market.

But art tends not to have such a clear target. It’s hard to say what art is for or against; its value often lies in providing us perspective and new ways to envision our world. Its effect is often subtle and hard to measure, and confusing or contradictory messages can be layered into the work. Good art always contains a surplus of meaning. Something we can’t quite describe or put our finger on, but moves us nonetheless. Its goal is to stimulate a feeling, move us emotionally, or alter our perception. Art is an expression that generates Affect.

With his twelve-hour performative intervention as a living sculpture, performance artist John Herman explores the creation of this effect. Herby, he used time, space, camouflage, physically reductive movement sequences and interactive resonance from passers-by as materials. In so doing, John Herman invites us to reflect on the significance of art as one of the most important lifelines of a society.

Duration: 12:00 hrs
10th May 2023
SQUATFABRIK #1 – ARTS RESIDENCIES
KULTUR FABRIK - Esch-sur-Alzette -Luxembourg

photo credit: Daniel Fragoso

30/05/2023

SLAUGHTERHOUSE by John Herman

MAY 25, 2023; SQUATFABRIK #1 / KULTURFABRIK / ESCH-SUR-ALZETTE / LUXEMBOURG

Photo credit: ©Gilles Kayser - Kulturfabrik

According to Clausewitz, wars are a continuation of political in*******se, a carrying out of the same by other means. It remains to be seen whether this also applies to the Russian war of aggression in Ukraine. What is certain is that a war of attrition is developing at the edge of Europe, in which multiple states represent interests that only partially overlap those of the Ukrainian people. The destructive potential of the current war revives memories of the horrors of two world wars of the last century, which turned Europe into a slaughterhouse.

The current war, however, is not only directed against Ukraine, but has spurred profound political and economic upheavals on a global scale that are having a direct impact on the livelihoods of billions of people. Accelerating climate change, rapidly increasing global economic turmoil, and the threat of famine in the global South show that war as a slaughterhouse is far from obsolete.

In his installation/performance SLAUGHTERHOUSE, John Herman examines the rampant individual powerlessness and resignation accompanying the profound political and economic upheavals in the wake of the ongoing war to display them through performative, auditory, and visual means. Taking place in a former slaughterhouse, the performance can also be seen as an allegory of life, in which focus is placed on the desire for individual redemption.

22/05/2023

SLAUGHTERHOUSE

an art performance by John Herman

MAY 25, 2023
8:00-9:00 PM

GET-OUT / SQUATFABRIK
6:00-10:00 PM

KULTURFABRIK / GALERIE TERRES ROUGES
116 RUE DE LUXEMBOURG
4221 ESCH-SUR-ALZETTE
LUXEMBOURG

According to Clausewitz, wars are a continuation of political in*******se, a carrying out of the same by other means. It remains to be seen whether this also applies to the Russian war of aggression in Ukraine. What is certain is that a war of attrition is developing at the edge of Europe, in which multiple states represent interests that only partially overlap those of the Ukrainian people. The destructive potential of the current war revives memories of the horrors of two world wars of the last century, which turned Europe into a slaughterhouse.

The current war, however, is not only directed against Ukraine, but has spurred profound political and economic upheavals on a global scale that are having a direct impact on the livelihoods of billions of people. Accelerating climate change, rapidly increasing global economic turmoil, and the threat of famine in the global South show that war as a slaughterhouse is far from obsolete.

In his installation/performance SLAUGHTERHOUSE, John Herman examines the rampant individual powerlessness and resignation accompanying the profound political and economic upheavals in the wake of the ongoing war to display them through performative, auditory, and visual means. Taking place in a former slaughterhouse, the performance can also be seen as an allegory of life, in which focus is placed on the desire for individual redemption.

Adresse

116, Rue De Luxembourg
Esch-sur-Alzette
4221

Site Web

http://john-herman-art.online/

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