“According to Kathy O’Dell in her article ‘Displacing the Haptic: Performance Art, the Photographic Document, and the 1970s’ (1997), ‘the term ‘performance art’ has proven elastic enough to encompass work called ‘actions’ and ‘body art.’’ Even though performance art can be traced back to Futurism, it really began in the 1960’s where artists took charge of their own existence, including their body, and brought their practice in to ‘liveness’. Artists started exploring the capabilities of the body and mind in a sense that they could use them as the main tool for the whole experience of their practice. The purpose of performance art, at that time, was not to attract publicity to the artist but ‘a way of bringing to life the many formal and conceptual ideas on which the making of art is based.’ More specifically, the difference between performance art and other forms of art, such as sculpture or painting, was the presence of the artist within the work. The presence of the artist was something that changed the perception of what art is according to other forms of art. As Oskar Schlemmer (1918) argued, ‘the new artistic medium is a much more direct one: the human body’, the human body creates an intimate relationship, in which the artist is present in front of viewers; the use of the body becomes the language between the performer and the viewers. The presence or even the absence of the performer in a live event was and is one of the most inspirational factors for the viewers”.