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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

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Chris Dupuis

Chris Dupuis is a writer, creator, and co-founder of the curatorial platform RT Collective. He divides his time between Toronto and Brussels.

Posted inPerformance

Jess Dobkin, a Performance Artist With a Unique Sense of Humor

by Chris Dupuis September 16, 2021September 17, 2021

Dobkin caught the attention of critics early on with her quirky and occasionally self-deprecating works, which often center lesbian identity.

Posted inArt

From Marina Abramović to Carlos Martiel, a Tradition of Self-Harm in Performance Art

by Chris Dupuis April 5, 2019April 5, 2019

Nearly five decades since Chris Burden and Marina Abramović began their explorations, an emerging crop of artists are re-envisioning artistic self-harm in both methodology and intent.

Posted inArt

Hybrid Dance Works That Get Intimate with the Audience

by Chris Dupuis May 26, 2017

Kunstenfestivaldesarts, a launchpad for contemporary choreographers, seems to be making an effort to stretch its boundaries.

Posted inPerformance

Making the Case for a More Inclusive Approach to Performance Art

by Chris Dupuis March 31, 2017

Performatik17, the 17th Brussels Biennial of Performance Art, is either the dream of someone seeking an expanded field or the nightmare of someone craving rigid borders.

Posted inPerformance

24 Hours of Greek Tragedy and Dionysian Debauchery

by Chris Dupuis October 19, 2016

Jan Fabre’s Mount Olympus stitches together more than a dozen classical Greek plays and is unlike anything I’ve ever witnessed.

Posted inArt

In the Move from Stage to Museum, a Dance Becomes Performance Art

by Chris Dupuis April 27, 2015April 28, 2015

BRUSSELS — On a cloudy Thursday afternoon, on the second floor of WIELS Contemporary Art Centre, Anne Teresa De Keersmaeker sat at a long, white banquet table with her head in her hands.

Posted inArt

When Guerrilla Art Goes Awry, Keep the Cameras Rolling

by Chris Dupuis January 29, 2015February 2, 2015

BRUSSELS — 7 Square Metres (2013) didn’t set out to explore the subject of failure. Belgian artist Karl Philips’s first documentary film was supposed to record the complex implementation of a site-specific action at a 2011 summer music festival.

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