The action: After my talk I ask the audience to leave their chairs and come closer to me. Without any form of mirror, I ask them to guide me verbally to place the tattoo machine in the middle of my forehead between my brows, in order to make a mark with red ink. Eventually I hand them the tattoo machine so that they can do the final touches.

From: ‘Enlightenment’, performance. Featured in the symposium ‘Love, Pain, Intimacy in Live Art’. Queen Mary University (London 2018) Picture: Orlando Myxx


From: ‘Bench’, performance. Featured in ‘Visualeyez’ annual festival of performance art, curated by Todd Janes. With the support of Laitude 53 art gallery and Edmonton Art Council. Beaver Hills House Park. Edmonton. Canada. Picture by: Sandra Der.

Read the article: http://www.visualeyez.org/2017/12/18/ivan-lupi-bench/


In 1917, Duchamp changed the original significance of a urinal, re-contextualizing it as a work of art, with the aim to shift the focus from art as mere physical crafting to a deeper intellectual interpretation.
Gender is often something I concern myself with when it comes to my art.
In this piece, I display myself as a urinal, placed in the middle of an art exhibition. The audience (of any gender) will be given the freedom to “use” me, should they feel the need, while interacting with other works.

From: ‘Ivan Lupi’s Circadian Rhythm’, ‘Fountain’, performance. Featured in the exhibition: ‘Versier’. Art Karoo. Oudtshoorn. South africa. Picture by Wilhelm Vincent.