Related products

• UNIVERSAL RIGHTS I.E. NAKED STATELESSNESS

  BY YIANNIS PAPPAS

  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.
• 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.”