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riate place. Sexists have certain ideas on how a woman should behave and Putin, by the way, also has got a couple thoughts on how Russians should live. Fighting against all that - that's Pussy Riot.” (Vice magazine 2012)

 

On February 21st, the group crossed the threshold of the altar and began singing and dancing in front of tourists and clergy at Moscow’s Cathedral of Christ the Savior. They delivered approximately forty seconds of the “Punk Prayer”; “Mother of God, put Putin away” asking the Virgin Mary to drive out Russian president Vladimir Putin from the church, before being removed by security guards. Pussy Riot assured their performance in Moscow’s main cathedral was not to be an anti-church demonstration, and was entirely based on criticizing President Vladimir Putin. Some see the song itself as ‘Punk poetry’ whilst others describe it as blasphemous. But the fact of the matter is Pussy Riot live, vote, pay their taxes in a country in which the Russian Orthodox Church and its deep links in structures of power have had a colossal control over their lives, politically and culturally.

 

During the 20th century, the bodies of artists, and the public alike, were beginning to be commonly used more and more as both the entity and the subject matter, the piece itself. Bound, beaten, unclothed or highlighted features etc: ‘the body is presented in all possible guises, as the artist quite literally lives his or her art either publicly, in performances or privately, in video and photography’.

 

This long standing tradition of self portraiture had began to take a distinct left turn, and the influential performance artists were at the forefront of this defiant movement to take art outside of the galleries and into the unconventional media, and in some cases controversial spaces -- much like Pussy Riot today, it’s clear to see that performance art would have played a distinct role in their political piece. The ties between art and life itself would then be worn away, as were the ties between somewhat sensual and visual experiences amongst viewers.

 

By establishing narratives of real life situations, their own experiences within the perspective of performance, the artists point out the extent in to which history, gender, and identity are all socially constructed performances and are the main focus to the manipulations of power.

 

Before Pussy Riot, Nadezhda Tolokonnikova and Yekaterina Samutsevich were members of a collective named Voina (meaning War).Voina is a made up of a controversial group of Russian actionist artists that engage in radical street protest actions; Political protest art. The collective have protested against the somewhat total elimination of freedom of speech, against the violation of human rights, and against the complete liquidation of democracy that has taken place in Russia in current years.

 

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