21' 31''

HD

2023

SATIATING THE SENSES: DINING ON NOTIFICATION

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Description

Concept delves into the notion of notifications and social media becoming our sustenance, our daily food, and a captivating addiction that consumes our lives, shedding light on our modern habits and obsessions.
Performance challenges our reliance on technology and explores the impact on our senses. Breaking 12 plates symbolizes a year and time passed in our digital dependencies. Background notification soundscape reminds us of the constant stream of information we face daily, while the dripping water represents emotional complexity and the paradox of our insatiable thirst for connection. The performance prompts reflection on our relationship with technology, its effect on sensory experiences, and the content we consume. Through broken plates, notification noises, and dripping water, it calls for deeper, more meaningful connections and conscious consumption.

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Topic Related to

All topics
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BODY TECHNOLOGY AND INNOVATION
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CLIMATE EMERGENCY
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DECOLONISATION
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GENDER EQUALITY
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HUMAN RIGHTS
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MIGRATION
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SOCIAL JUSTICE

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Sara Kostić
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You are supporting Sara Kostić
Sara Kostić is a performer, architect and designer. In her work, she incorporates her fields of interest, referring to the physical and social context that the role of the psychological and physical body takes. Exploring how particular spaces and architectures can change performance art and vice versa, she declines various techniques in her artistic practice. Unfolding over multiple days, many of her performances are durational. All the hidden things inevitably have physical consequences that usually invalidate the social defence of perfection and beauty. For Kostić, performance is a fixed, moving image of a body struggling. We cannot claim our bodies as our own because we are possessed by our bodies as much as we own them. We are all dealing with the anxiety of the ‘learned’, resisting and battling with paths and systems chosen for or by us, not always consciously or deliberately. Thus, performance challenges the binding relationship between inside and outside, between possessing a body and being possessed by it—the choice itself is the final instance.
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