Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017

Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017




Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017

Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017




Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017

Tap and touch white cube, performative installation, Bone- Performance Art Festival Bern 2017



Tap and touch white cube, performative installation, Galerie Thaddaeus Ropac, Paris 2019

Tap and touch white cube, performative installation, Galerie Thaddaeus Ropac, Paris 2019




Tap and touch white cube, performative installation, Galerie Thaddaeus Ropac, Paris 2019

Tap and touch white cube, performative installation, Galerie Thaddaeus Ropac, Paris 2019





TAP AND TOUCH WHITE CUBE
performative installation, Bone- Performance Art Festival Bern 2017 / Galerie Thaddaeus Ropac, Paris 2019


In an interactive and ironic fashion, Michailov explores the limits in the interplay between performer and audience at the present time. How far can you go in art and, by doing so, to what extent does this feed the voyeurism of the audience?

Whereas Valie Export in “Tap and Touch Cinema” denies the predominantly male audience a peek at the image and requires it to “grasp” it with their hands and Marina Abramovic in “Rhythm 0” may at least consider herself safe through the presence of the audience, Michailov at the time of #MeToo debates invites women and men to experience art intimately in his expanded body in a self-responsible and undetected manner.