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• ENOSSIS

  BY VIRGINIA MASTROGIANNAKI

  A video performance with a spoken text as a by-product of the “Treaty on European Union” and the “Treaty establishing the European Community”. Only the paragraphs, articles and points containing the word Enossis (Union) have been saved from the original texts of the treaties. All terms like bank, banking, ECB (European Central Bank), chapter, costs, country, economic, European, fees, government, governmental, international, market, monetary, nation, national, NATO (North Atlantic Treaty Organization), people, and state have been removed. Without adding or replacing phrases and words (except changing grammatical issues where required for the Greek language), the new text dismantles the institutional character of its members (Member States-Nations) and the central economic/monetary profile underlying the constitution of the European Community. The video is a comment on the nature of the mother tongue since it has to be read so that the missing words will not affect the pronunciation of the terms that follow them. The new ENOSSIS text seems more akin to a humanist manifesto than an economic and monetary treaty.
• OLTRE IL CORPO (BEYOND THE BODY)

  BY Kyrahm and Julia Pietrangeli

  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.
• 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.”