Every visualisation of the selected videos to launch PAV will be for free until October 1, 2023, thanks to the generous contribution of the featured artists.
A performance for camera taking as a starting point the killings of women by their partners, during 2021 in Greece. Domestic (and other forms of) violence, inflicted predominantly on female-identified subjects around the globe, remains under-reported, stigmatised, and kept as taboo behind doors: devastatingly pervasive in capitalistic, patriarchal, hegemonic, and (hetero)normative societies. The performance whilst using specific signifiers and (symbolic) references focuses on skin self-writing and dancing as acts of resilience and (self)empowerment "THIS IS NOT YOUR TERRITORY" is not only a performance for the dead but mainly for the still alive ones, the daily survivors, including the children behind the closed doors, and their joint screams. There is not enough space for the names of all of them, but definitely, they are not forgotten.
Celebrating the 10th anniversary of the VENICE INTERNATIONAL PERFORMANCE ART WEEK, VestAndPage and the Anam Cara collective presented in December 2022 the performance opera UnderScars at Palazzo Mora, the historical premises of the European Cultural Centre in Venice.
UnderScars is a gathering of experienced artists and performers who challenge their practice to attempt novel perspectives on art and society. It is a collective work that gravitates around the themes of disability, severe diseases, addiction, patriarchy, capitalism, abuse and discrimination.
The wounds and stigma they cause are dealt with poetically through performance actions and artmaking rituals of kinship and togetherness.
On this occasion, Palazzo Mora’s main hall and six adjacent rooms transform into a dwelling site of interconnected performance installations, where temporary, intensive co-creation processes aim to reveal the qualities of existence.
The hosting space functions as a social-narrative incubator wherein performance methods are intertwined for coagulating inclusive and expansive life stories. The collaborative performance unfolds as it builds on sustained encounters of different artistic research combined with performative practices.
As the title suggests, the artists now gather to unveil precious experiences of vulnerabilities, hesitations, fragilities, hopes, the unspoken they carry under their cicatrices, and wounds healed by performing. Memories and experiential transformation processes entwine and collide to respond poetically to present emergencies.
UnderScars was envisioned and devised by the artist duos VestAndPage (Verena Stenke & Andrea Pagnes) and Marianna Andrigo & Aldo Aliprandi in collaboration with Irina Baldini, Sabrina Bellenzier, Giorgia de Santi, daz disley, Nicola Fornoni, Marisa Garreffa, Fenia Kotsopoulou, Ash McNaughton, Aisha Pagnes, Enok Ripley, Sara Simeoni, Mauro Sambo, Joseph Morgan Schofield, Marcel Sparmann and Emily Welther.
A stray dog that has been given a name has a far greater chance of survival.— Hannah Arendt
The core themes of this performance for the camera are the problem of moral principles and the relationship of the body to citizenship from the perspective of Stoic philosophy. Stoicism (a school of Hellenistic philosophy that flourished in Ancient Greece) focuses on human nature as part of universal nature and cosmic sympathy: the sense that the universe is an indivisible living organism, always in flux. Concurrently, the video is accompanied by an evocative depiction of an individual’s distress, serving as a poignant reminder that rights are achieved through united efforts and resilience during periods of oppression, devastation, and lamentation. Pappas’s artistic endeavour seeks to capture the essence of existential unease within today’s civilization. By weaving together individual and collective human and non-human connections with concepts encompassing the body, citizenship, space, time, mysteries, and the opposition utopia/dystopia, Universal Rights i.e. Naked Statelessness, deploys the camera as a vehicle for testimony and documentation. It deciphers a contagious and symbolic discourse, functioning as a mechanism to challenge the prevailing inclination towards the uniformity of thought and behaviour.
Untitled (Iron) is a project that delves into the profound history and symbolism of iron —a material emblematic of exploitation, conflict, and class distinction. This work unravels the narrative of iron, a material scarred by its associations with warfare and societal divisions, through a process of participatory corrosion. By inviting the audience to pour vinegar over both the iron sculpture and my naked body, I initiated an act of oxidation, symbolically unveiling the material's layered past. In this performance, iron is reimagined as a living entity, extracted from the earth, and subjected to human use, decay, and transformation. This act of corrosion is not merely physical; it is a metaphorical excavation of history, reflecting on the symbiosis of human and non-human elements.
Set against the backdrop of Gradisca d'Isonzo, Italy—a territory steeped in a history of displacement, occupation, and conflict—the performance metamorphoses into a ritualistic act. My presence throughout the durational performance encapsulates vulnerability, inviting the audience to become part of this intimate space. The looping sound of my breath serves as an auditory soundscape within my research into iron, prompting a deeper engagement with our collective past and the internal cycles of transformation that governs all existence.
The Virgin Seed is a collaborative experimental performative film, which was created by Salomeya Bauer and Pari Banu Asgar in the frame of the “NoBorderland” residency in Tskaltubo, Georgia, 2022. The film aims to highlight the idea of the childhood and parental traumas of those who do not know how to accept their queer child. It is a metaphor for the circle of life.
Virgin Seed. Mother’s manifesto:
I gave birth to you, but no one told me who you would be, or who you would want to be. No one taught me how to protect you.
I have to teach you how to survive in this society. Should I become a part of this society to give you a lesson? Or should we go to a desert island so that you won't have any reason to hate me when you grow up? Should I put you in an aquarium to hide your fragile body from all predatory fish, which will evaluate you and place you according to their standards?
Compassion does not come without pain. Empathy is mistakes that have become lessons. I want to be your friend.
But society tells me that I should be your borderland. If you get lost, I have to find you, if you make a mistake, I have to justify you. Or punish.
They say I have to teach you how to survive. But I want to teach you how to love. Love that does not bring pain, love that forgives everything and accepts everyone.
“How am I to protect my wax-built castles of love
From the devouring heat of your fires?”
Sayat Nova
In the tradition of Louise Bourgeois’ “Femme-Maison”, the utopian/dystopian atmosphere of the domestic is reconstituted.
Black wax-built forms like houses floating in the air that the artist melts down, uncovering their skeletons one by one, leaving behind a floating graveyard of the houses she once built.
As Alva Gotby argues in her book “They call it Love: the politics of Emotional Life”, in a capitalistic society, reproductive and emotional labor is celebrated through the image of the self-sacrificing mother-wife and through a narrative solely devoted to love, where happiness and self-fulfillment overlay with conjugal romance, a stable and fertile household, and a crowd of well-behaved children.
In practice, these ideals turn out mostly as a zero-sum game with women on the losing end.
To change the way we relate to each other will require revolt and a radical restructuring of society.
A performance for camera that reflects on the artist’s feelings of rejection and social ostracism, in both her country of origin and the one she has been trying to settle to find safety and stability. In the UK, Farida has found that her search for equality would inevitably clash with the reality of racism and a climate of hostility towards migrants like her. From the coasts of Folkestone, just opposite the sharp white cliffs that face the turbulent waters of the English Channel, Farida is sitting on the ‘white’ rocks of an empty beach - her lone, naked, brown body staring towards an empty beach. There, she can finally scream - showing the aggression and vulnerability of a wounded animal.
“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.
I'm Thinking of You presents a surreal, dreamlike image... a romantic vision of childhood fantasy and abandon. The body is central, but we are also presented with objects and music, which converge to take the viewer through a contemplative, personal experience. The first inspiration for I'm Thinking of You came from a childhood object, which Franko B made into a sculpture, altered for safe use by adults.
The idea was to allow adults to play, to forget their problems, to let go, or just to have fun - in the same way that children are allowed to. Over time, and with engagement with the composer, Helen Ottaway, the idea has developed and changed, with Franko using performance and music as a means to create his desired image.
An abandoned NATO base built during the Cold War on a mountain pass linking three valleys to each other in north Italy. Old business lines, passageways and other morphological peculiarities. Sound waves, cymbal vibrations and fake animal puppies mark an imaginary sense of the time passing. The landscapes around take on ascetic and fleeting colours. Those zones that were once controlled from now on are a way out. The senses conjugate an escape trajectory from the body to the sky. The video consists of three chapters. Each of them begins with a description of emotions.
The story develops through symbols concerning identity, presence, existence and condition. Documentary scenes alternate with anatomical frames. Keeping direction straight on, the protagonist discovers new territories—nowhere is everywhere.
He trespasses and tracks them down with his orthopaedic devices, migrating from a tunnel’s darkness to the light, like a miner who reaches the surface after spending endless moments in the depths of the earth where the rumble of metal makes its way through the rocks.
The disappearing home, flooded by the rising sea levels. The tidal feeling of solastalgia,
the homesickness when you are still at home, but you know it’s under threat and will one day be taken by the water.
Areas created and protected by human efforts from encroaching waters are not just a home for people but also for a diverse ecosystem. The video’s performer, Steef Kersbergen, learned as a child that their hometown in the Netherlands would flood irredeemably and, with it, a third of the country. The precise timeline of this event remains uncertain, with scientists offering varying estimates.
The Dutch people are divided in dealing with this eventuality. Some are preparing. Others sit with or suppress the discomfort, push away the water, fear, grief, and sadness and continue living. As for now, it is okay.
"Hi,
I'll tell it in English.
It was a moment
one freezing afternoon,
left,
wandering…
wandering on the beach.
There were a lot of people,
There were people, dogs, children.
I noticed this figure
that from behind looked like a director,
it seemed that in front of the waves, he had an orchestra,
and organised and directed these waves.
The sea wasn't that rough,
but maybe that's how he saw it.
And he had no one,
he was pretty isolated,
self-isolated.
Inside this…
He didn't talk. He directed.
And I even came close
before I made the film,
and it was just,
it's as if he saw something,
He was directing.
Yet,
To me, he moved me,
He touched me,
seeing him.
And then the text came to me.
I didn't even have to write the text,
I told it and then copied it,
Yes, yes.
I never wrote it
watching the video after,
a few days later,
I improvised."
Franko B.
Using innovative body mapping techniques of a film made up of thousands of found images, Franko B revisits his seminal bloodletting works for the first time in his practice. Each cut challenging the audience to confront their own history, a global history of war, abandonment, homophobia, freedom, displacement, famine and sex.
In I’m Here, present but disembodied, Franko B provides a portrait of our failing society. As the artist bleeds for a world that is hemorrhaging to death, pain and nostalgia emit to expose how Franko B became who he is amongst all of the shit.
“Every day I’m trying to make sense of my extended time here. The past is part of our present. It never left us but is evolving rather than repeating; it is continuing to allow us to make the same mistakes. I believe this is valid for both the personal and the political. I'm Here is trying to express these two connected worlds. It doesn’t revisit the past romantically or melancholically in the context of our political and social histories but questions and reinterprets it.” – Franko B
UNLOVED - a one-off performance at Rua Red. The performance, featuring the works from the series Homage to the New World Order, 2017, manifests the artist’s violent resistance against institutional abuse and negligence.
Love, insignificant, this, insignificant, body, insignificant, powerless, insignificant, never, insignificant, democracy, insignificant, pain, insignificant, life, insignificant, shit, insignificant, fuck, insignificant, artist, insignificant, I, insignificant, mediocracy, insignificant, deleted, insignificant, self, insignificant… – Franko B
Milk & Blood is a performance held by Franko B on July 27, 2015, at Toynbee Studios (London). It appropriates the aesthetics of boxing for 32 minutes, rounds of mental and physical endurance during which Franko explores themes of pain, eroticism, revulsion, ecstasy and masculinity. The performance becomes a metaphor for social struggle and the ability to overcome it.
Internationally recognised as a pioneering performance artist, Franko B uses both his body and a punching bag as democratic tools, embodying notions of the personal, political and poetic. In this unprecedented performance, Franko B returns to the seminal aesthetics of the wound. Milk will bleed. He says: “Looking introspectively, I can truly say that I have successfully wrecked my career as a ‘bleeding’ artist and continued my lust for life thanks to language.”
Franko B presents the multi-disciplinary live performance, Because of Love: volume 1. The piece represents a major departure in Franko’s practice, moving away from the gallery based tableaux vivants of his previous work.
Drawing upon memories of vivid moments and experiences of art, film and dance from different stages in his life, this piece is about life, childhood, humanity, inhumanity, love and grief. Intimate connections are made between personal memories and lived experiences... experiences that can be mediated by someone else’s voice or art form, or appropriated to become one’s own in a way which is both personal and political.
In a provocative and stark portrait of the existential self, Franko B uses his own drawn blood as a symbol of carnal reality and suggests the natural destitution of the body as a fundamental of existence.
Standing before us a mute body-object, achromatic and cadaverous, his performance is an act of cleansing, stripping the flesh of identity.
Nettuno (Rome, IT), July 3, 2015. It’s almost the sunset at the beach that used to be the theatre of war during the dramatic landing of Anzio and Nettuno during World War II.
A long white table waits in the sea; a rubber boat lands on the shore. The passengers join the banquet: an aged man, two young women and a few African men. They took their seat in front of a small and curious crowd. Each of the guests tells his odyssey. The African refugees share the stories of their long journey to escape from the unbearable living conditions in Nigeria, where they lost their relatives in violent criminal attacks, then to get to Libya, where they experienced the miserable conditions of the war and the underground prison detention. The lovely elder from Sardinia tells about his experience as an immigrant to Germany. He recounts the time when the Italians used to travel in masses after the last war, flooding the train stations with their cardboard luggage; a similar scenario recalling the past century exodus when the Italians used to embark to America. The story of the young woman born from a Sicilian mother and an African father reveals peculiar mixtures between different cultures in an unusual family story torn between dishonour and love.
At the end of the feast, everybody takes part in the ritual of the salt thrown in the sea. To remember the sisters and the brothers that couldn’t make it, and to restore the sea in the sea. This performance, documented live, involved elderly Italian migrants and refugees recently arriving in Italy willing to share their stories to the casual audience of the beach.
The creation of a machine able to paint without the artist being present triggered the envy and admiration of Andy Warhol. “It’s the artwork that should speak and not the artist”, says a contemporary art mantra. But what happens when we investigate the role of performance art by interviewing artists whose physical presence is the fulcrum of their work? Is being an artist an innate condition, like the shamans - that you can either accept or dismiss - or is it the result of experience and valuable encounters?
Beyond the Body is an intimate dialogue delving into the motivations that drive some protagonists of performance art to reveal their identity; and unveil their body; at times using their own (real) blood on stage through forms of expression uncompromising between life and death.
A long time ago, there were three kinds of human beings: male, female and androgynous. As they were powerful and threatening to scale the heavens, Zeus devised to cut them into two ‘like a sorb-apple halved for pickling’ and even threatened to cut them into two again, so that they might hop on one leg. Ever since then human beings longed for their other half so much that once found they restore their ancient perfection. – Aristophanes in Plato’s “Symposium”.
Those who escaped the wrath of the Gods are not spared from the anxiety of research: Brutus at night, Julia at day, fragile and tenacious, reveals in front of the mirror that s/he does not know where this journey will take. Proud lesbian activist s/he’s one of the first Drag Kings in Italy.
Kyrahm’s note: “In the last years, I met extraordinary warriors. I attended LGBT activists meetings before the Italian government approved the Civil Partnership Bill. I met with people struggling to build a model of society where diversity is a value. For health issues, I connected to the most intimate part of human fragility: the fear of death. I got in touch with other warriors, fighting against physical diseases. I chose not to be afraid. With humbleness, I gathered those people to expose their bodies and souls, voluntarily performing themselves and their real life-stories. A mother without legal rights on her baby girl. A woman in love with her girlfriend. The courage of the disabled and the pride of age and illness.”
The live performance and the resulting docufilm reflect on the mother/child relationship compared and opposed to that one of a son who takes care of his elderly mother.
A Pietas, acted out with a disabled boy, silently claims the fairness of all bodies to be loved, as well as a woman and her twenty-three years enduring relationship with her beloved partner; the tears of a silver-haired Venus watching at her lover’s face signed by time; and those who find the strength to transmit messages of love despite the fight against cancer. A key issue is the role of the voice: the voice of those who are no longer with us and the voice changing with time and illness.
“On the white canvases covering the wooden structure of a cellar room (of approximately 10 square meters), I repeatedly wrote in Chinese '我要真普選' (I want real universal suffrage) with willow charcoal made in China.
This slogan has been used widely in Hong Kong during the Umbrella Movement and represents the people's demand for freedom and democracy. I travelled to Venice when the major occupy site outside Central Government Offices was about to be cleared by police in Hong Kong. A programme of selected video documentaries of or work by artists in Hong Kong themed ‘Performing Civil Struggles: in-between conformity and resistance in Hong Kong (2004-2014)’, curated by me for the VIPAW (Venice International Performance Art Week), was showing in the next room.
As an active participant in the pro-democracy protests in Hong Kong, my installation/performance manifested not only my confessions of being away, but also my solidarity with other protesters at home, and an intense meditation on a series of civil struggles in decades.
In my live performance on 15 December 2014, when the last major occupy site was being cleared in Causeway Bay, I blindfolded myself with the 5-star flag of PRC and repeatedly wrote the same slogan again on the canvas.
Messy, scribbled or uncontrolled, the blind writing layered the canvases with my mixed feelings about the civil struggles in Hong Kong: devoted and persistent yet vulnerable, isolated or even imprisoned by one's own promise.
On 18 December 2014, the 6th day of the 2nd VIPAW (Venice International Performance Art Week), I presented a tele-performance through webcasting from Hong Kong. I lind-walked around the Central Government Offices at midnight when there was almost nobody there. After my emotional outbreaks during my performance in Venice, this blind walking took me back to the locale of the protests in the past few months and where the Umbrella Movement originated.
The remoteness of my performance as shown by live-feed video projection on my recurring writings of ‘我要真普選’ (I want real universal suffrage) in Venice corresponded to the emptiness and solitude of the place which had been occupied in the past 3 months and cleared a week ago.
This action also offered me a chance to meditate on the unseen future of the civil struggles in Hong Kong and re-discover the overlooked micro-history on a personal level.”
Metamors is a colorful vortex that transports the observer to a dreamlike dance between the veil of being and the abyss of becoming. Each mask is an echo, a shard of stars and stories woven into the threads of the female soul's polyhedral mosaic.
The artist, the Sibyl of a Thousand Faces, wears masks that speak the names of deities, warriors, witches, and dreamers in this hallucinogenic garden of fluid lights and shifting shadows. But be cautious! The masks are dishonest artificers who play with our perception of reality. They are gateways into digital realms, worlds of pixels and code, places where being a woman is a kaleidoscope of unlimited possibilities.
This is a performance where the body's trajectory, velocity and position/orientation in space were choreographed by a 6-degree-of-freedom industrial robot arm operating within a 3m diameter task envelope. The resulting sound of the robot motors registers the kind of movement, acoustically amplifying the choreography.
The programming was done offline and then transferred to the robot controller. The performance was done with one of the programmers having his thumb on the kill switch, in case the robot did something unexpectedly. The body and the robot become one interactive and aesthetic operational and performing system. When the choreography was completed, the body was replaced by a large sculpture of his ear. The robot that choreographs the ear is the same robot that carved it.
Performance: 29 September, 2015
DeMonstrable exhibition: 3 October - 5 December 2015
This is an interactive, online performance that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body – wired and under surveillance. Wearing a heads-up display, the artist sees with the eyes of someone in London, and hears with the ears of someone in New York, whilst simultaneously, anyone, anywhere can program the exoskeleton with a touch-screen interface and generate involuntary movements of his right arm.
The performance was for 5 days, 6 hours a day continuously. His vision was disconnected from his hearing and his arm was disconnected from his intention. It is as if the body has been electronically dismembered, spatially distributed and possessed by multiple agencies.
The performance was from 3 -7 August, with the exoskeleton arm being interactive from 31 July – 4 September 2015.
EAR ON ARM SUSPENSION is a performance where the body is suspended above a 4m long sculpture. 16 hooks were inserted along the back of the torso, arms and legs to equally distribute the body’s weight. As it was winched up, the body assumed its full weight, stretching its skin.
Because of the braided steel cable untwisting as it assumed the full weight, it begins to untwist and the body begins to spin, first one way and then the other. What was first imagined as a 5-minute performance ended up being 15 minutes.
The performance was about a counterpoint in scale. A whole physical body suspended above a larger fragment of the body - the ear on an arm. The body becomes an object in a sculptural installation. The performance began when the body was hoisted off the sculpture and ended when the body touched down. The 16 stainless steel hooks were inserted whilst the body lay on the Ear On Arm sculpture. After the cables were connected the body was winched up approximately 50 cm above the sculpture. The body spun one way and then the other for approximately 15 min.
When it stopped spinning, and in the correct orientation, the body was then lowered down. The installation was left in place for the duration of the exhibition with an edited video and an image authenticating the performance. The event was both a looping back to a previous performance strategy and simultaneously a looking forward to the Ear On Arm project, exposing the physicality of both.
The performance occurred on Thursday 8 March as part of the SUSPENSIONS exhibition which was from 7-31 March 2012 at SCOTT LIVESEY GALLERIES.
Stelarc: “The suspensions are experiments in bodily sensation, expressed in different spaces and in diverse situations. They are not actions for interpretation, nor require any explanation. They are not meant to generate any meaning. Rather they are sites of indifference and states of erasure. The body is empty, absent of its own agency and obsolete".
The Exhibition And Performance Was Dedicated To Nobuo Yamagishi, The Director Of The Maki, Tamura And Komai Galleries In Tokyo When Stelarc Lived In Japan. Yamagishi-San Was Admired Both Personally And Professionally. He Is Greatly Missed.
RECLINING STICKMAN is a 9m long robot, actuated by antagonistically bundled pneumatic rubber muscles. Visitors at the AGSA can insert their own choreography from a control panel. Anyone, anywhere at any time can remotely access and actuate the robot. A background algorithm intermittently animates the robot if no one intervenes.
The droning motor sounds, the solenoid clicks and the muscles compressing and contracting, extending and exhausting are amplified, registering the limb motions and extending the physical presence of the robot.
STELARC performed for 5 hours continuously positioned on the torso of the robot on Saturday 29 Feb 2020, 11.30 am - 4.30 pm. Reclining Stickman was streamed and in exhibition from 29 Feb – 16 August 2020.
(Documentary)
Stelarc explains how he has visually probed and acoustically amplified his body.
Using medical instruments, prosthetics, robotics, Virtual Reality systems, the Internet and biotechnology, Stelarc explores Alternative Anatomical Architectures with augmented and extended body constructs.
In this documentary, the Pacha Queer movement, a dissident, rebel, counter-cultural, and “self-festive” community based in Quito, Ecuador, uses performance art to campaign for social, political, and sexual liberation. Monstras has been awarded as best film at Cine+Perfo 2022.
"In every African country we establish a careful inventory of all colonial statues and monuments. These we shall collect in a single park, which will serve as a museum for generations to come. This pan-African park-cum-museum will serve as colonialism's symbolic grave on our continent. Once we have performed this burial, let us --- promise never again to erect statues to anyone at all. Instead, let us build everywhere libraries, theatres, cultural centres - all these things that from this day forward will nourish tomorrow's creative growth." Achille Mbembe.
Future Monuments is an interactive meditation of historical visual experiences based on a visual interactive archival Opera score of which the video herewith is part. The project develops an experiment in sense-memory politics as a series of interventions examining memory and colonial histories in the past, present and future. Each score from the series will challenge visual experiences and perceptions about the way in which political language shaped histories, our sense of collective memory and trauma to propose new ways of memory through interaction, community participation and visual intervention.
The project intends to form a collective memory by creating a time machine through 11 scores of conceptual and visual experiences. The experience migrates through research and archives and ongoing modes of post-colonial experience across diverse cultures and spaces.
The investigation meanders through the stories of people and addresses the issues of forbidden and forgotten histories by creating visual interventions and building memorials for the 22nd century.
Each score responds to particular spaces, cultures and cities.
Future Monuments involves exercises in decolonial memories and actions on cannibalism to reform our perception of what we call history by breaking anthropological selections and reconstructing untold histories left in the memories of the present. It presents different spaces for investigation in indigenous communities and urban spaces.
This investigation towards decolonial cannibalism and aesthesis takes 5 stages:1. The Uncomfortable Truth (mourning)
2. Take This Hammer (commemorations)
3. Pieta (birth)
4. Les Statues Meurent Aussi (the gift monument)
5. The Brick Moon or an Ecology of Darkness (the future)
“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.”
萬語千言 WISH YOU WHERE HERE
Coming soon
TYPO3
Coming soon
METAMORS
Coming soon
PROPEL: BODY ON ROBOT ARM
Coming soon
FUTURE MONUMENTS
Coming soon
MONSTRAS
Coming soon
STARSHIP SOMATICS: An Underwater Dancevideofilm and video.
Coming soon
DRAG KING. IL SOGNO DI JULIA.
Coming soon
(A)MARE CONCHIGLIE
Coming soon
OLTRE IL CORPO (BEYOND THE BODY) Evolutions from Performance Art World.
