Related products

• THE STRUGGLE FOR VISIBILITY

  BY NOLI KAT

  When you are housebound, you become mainly invisible to the world. Unable to participate in the daily activities that happen outside the door of your home, it is easy to start feeling like you don’t exist. In The Struggle for Visibility, the artist attempts to become part of the outside world. They are covered in a golden silk sheet and stay close to the ground to represent their ongoing separate reality as chronically ill. In the public space, they become hyper-visible whilst remaining largely hidden from view. In their dreams of belonging to the outside world, they desperately try to overcome all the barriers it poses. In the last attempt to become more visible, they climb the highest stairs in the busiest part of town, but they find that this is too much to ask of their fragile body. Also, it does not lead to the meaningful social engagement they had wished for. Instead, they end up alone, exhausted by the effort of trying. For sick and disabled bodies to become more visible in public spaces, we need societies to adapt to our needs rather than push ourselves to become more visible to society.  
• METAMORS

  BY FRANCESCA FINI

  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.
• 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.”