Abstract This article is an attempt to define a new paradigm of body use in the medical performances of the Slovenian body artist Ive Tabar. By profession Tabar is a medical technician. Between 1999 and 2007 he enacted four political body art performances in the Kapelica gallery in Ljubljana and Loža in Koper entitled Evropa I, II, III and IV. At first sight these were body art performances of ‘the older type’, in which the body is the site of the performance and which Tabar invasively subjected to various medical instruments and processes. But in actual fact Tabar has enacted a crucial shift in his performative practice related to his attitude to pain: instead of endorsing pain as an ontological condition of the body art practice, he offers us the body as a tool for the political message of the performance.

中文翻译：

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Ive Tabar 的政治人体艺术表演

摘要 本文试图在斯洛文尼亚身体艺术家 Ive Tabar 的医疗表演中定义身体使用的新范式。塔巴尔的职业是医疗技术员。1999 年至 2007 年间，他在卢布尔雅那的 Kapelica 画廊和科佩尔的 Loža 举办了四场政治人体艺术表演，名为 Evropa I、II、III 和 IV。乍一看，这些是“老式”的人体艺术表演，其中身体是表演的场所，Tabar 对各种医疗器械和过程进行了侵入性处理。但实际上，塔巴尔在他对疼痛的态度相关的表演实践中发生了重大转变：他没有认可疼痛作为人体艺术实践的本体论条件，而是向我们提供身体作为表演政治信息的工具.