Relation between body and violance in the context of performance art

The human body has been the main reference element of art in every period. Although body was primarily used in art to imitate nature, the art movements of the early twentieth century changed the state of it in the plastic arts by transforming it from being just a visual representation to a living art work. After this transformation, the body's relationship with violence became direct. In this study, firstly the differing structure of violence in each culture was examined and the difference was supported with examples. The body was also interpreted in a similar way. The body is a complex system that is not just what is visible to the eye. There is an internal structure beyond the visible as well as there is a mistery about which tangible information cannot be obtained. In this context, different concepts such as spirit and mind come into play. The approaches of thinkers have been tried to be given in an historical chronology. Body, which is the main material of performance, is the one that produces, that is produced; that is passive and that dominates. The artist tries different ways in manifesting his/her own body. In performance art, a wide variety of practices are seen, from direct interventions to the body, to being the main element of an unusual dance or a theatrical show as well as from pushing the boundaries of the body and life to examples that emphasizes gender inequalities. Within this diversity, an attempt was made to stay on the axis of examples involving violence. Performance opposes the belief that art should give pleasure even if it involves violence. The self-harm of the artist had an intense debut in the 1970s, and this can be explained by the socio-political events of the period. The mass enlightenment that manifests itself in events such as peace demonstrations against war, social mobility and feminist movements may have been instrumental in the tendency of artists of the 70s to harm their bodies. Violence can be interpreted as a reflection of this dissolution process. Similarly, in the 1990s, examples of violence by the artists on their own bodies increased. There are researchers who connect this to the events of the period as well. However, these performances, which remained more experiment-oriented in the 1970s, appear to be much more protest-oriented / action in the 90s. The 90s, like the 70s, are the decade of sharp social transformation. In these years, when mass media are rapidly coming to life, any information is spread immediately and the imposed ones are accepted as correct. The dispraise of AIDS, which is a deadly disease, has spread in these years and the emergence of the hatred towards homosexuality has led to performances towards this direction. Performances are as striking and violent as these hate speeches. In the study, both examples in the history of art and examples indicating the perception of violence of societies are included in the context of body and violence. Nevertheless, the detailed examples are examples of performances involving violence.