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• COUROTROPHE

  BY DESPINA ZACHAROPOULOU

  A performance for the camera exploring the theme of ‘Body and Citizenship’ and how the maternal body might operate as a site for this passage from Nature’s world of violence and wilderness to the world of the polis and its language brought by theatrical and philosophical discourse. The video has as its starting point the passage to citizenship concerning the birth and use of language. Accordingly, the performance’s title stems from one of the roles of Artemis in Ancient Greece: Kourotrophos (Greek: Κουροτρόφος, “child nurturer”) and Lochia (Greek: Λοχία, “belonging to childbirth”). Artemis was responsible for the delivery and upbringing of children from childhood to adulthood and civil life.
• BEING IN THE ACT OF BECOMING

  BY MATILDE SAMBO

  “I’m here, inside me. I’m always moving. My home is myself.” Everything rotates around the question: “Where are you now?” Those who ask this question may also look for coordinates for themselves. A silent voice moves along the moving images. Thoughts about being and belonging to oneself are juxtaposed over natural landscapes—nature itself. Movement is the constant that binds the bodies. There is a need to visualise the self and others geographically to acknowledge the tangible existence of things. The sea is the protagonist—water’s continuous flow, water as life and death, the element and place to start a journey, a part of a journey, a little fragment of life. Again.
• Typo3

  BY Francesca Fini

  “The action begins with co-performer Inanna taking my blood, in front of a white table with an old Olivetti typewriter. She pours my blood into a glass cup, and there we dip a six-meter-long white satin ribbon, till it’s completely soaked in blood. Then we stretch the ribbon across the performative space and use a golden hair dryer to dry the ribbon a bit. Immediately, the space gets marked by thin blood trails that intersect on the floor, almost creating a map of our movements through the room. Then I open the typewriter and replace the old ink ribbon with the new one full of my own blood. I sit in front of the Olivetti and start hitting the keys. Without thinking, I write short surreal sentences that come spontaneously to my mind at that precise moment. When I finish writing, Inanna takes the paper sheets and attacks them to the almost invisible white wires hanging from the ceiling. The last sentence I write is ‘Ofelia Non-Annega’ (Ophelia does not drown), in a celebration of female resilience against the romantic depiction of self-destructive female heroism. The action is repeated from the very beginning for about six hours until the view of the performance space is completely covered.”