In this episode, we explore how Ben
Vautier’s performance Man Becomes Art
fits into the broader tradition of
performance artists who use their own
bodies as the artwork. From Yves Klein’s
Anthropometries (1960), where models
became living paintbrushes, to Marina
Abramović’s endurance-based The Artist
is Present (2010), we compare how
Vautier’s approach stands apart. Unlike
the ritualistic or physically demanding
performances of his peers, Vautier’s
declaration of himself as art was striking
in its simplicity.
We also discuss conceptual works,
highlighting how Vautier’s Fluxus roots
set him apart with a playful, anti-elitist
approach. Join Laurent, Colin, and Tanya
as we dive into the significance of these
performances and what they reveal about
the evolving boundaries of art.