Juliana Bom-Tempo, EGG-MOUTH-DEBRIS
Images, sound and editing – Cristiano Barbosa
Ocean of virtualities that possess the unpredictability of what will or will not succeed. The virtualities of eggs at risk are inhabited by incompossible and irreconcilable beings. Abortions, miscarriages, unforeseen metamorphoses, potencies of turning into beings completely different from their maternal species. Eggs perform the multiplicity. It is not a question of potentiality in the sense of already given possibilities. The distinction of forces acting on an egg transmutes new forces, in which the essential processing is the becoming. Before, during and now coincide, coexist in the moveable intensities of eggs throughout pregnancy. Deaths happen while lives are woven. The performer is dressed in white and carries 48 eggs fastened to her hair that drags on the ground. The performer walks through the DEVIL’S MOUNTAIN slowly for three hours. She puts an egg in her mouth, keeping it there until she cannot stand it anymore and the egg falls to the ground and breaks leaving only its remnants. Interventions in the scenery. Foreign strangeness . Past signs come into movement. A body vibrates, pulsating more on the threshold of pain. Virtual durations update with residues of the action: the liquid contents of eggs on the floor, organic scents, broken eggshells.
Kuba Borkowicz, 1729
In my works I deal with the subjects of infinity and randomness, and I examine the relationships of art in the public space. Fascinated with circus art, I am looking for ways to employ it in my artistic activities. My modes of expression are, among others, video, painting, performance and photography. I am a film producer by profession. I value honesty and conciseness of style.
Kamila Czosnyk, Second Wedding
It doesn’t matter if you say that God exists or does not exist… You always believe in something (in yourself, in your work, drugs, sex, alcohol, the person you love). The marriage ceremony is an act of devotion, love, of giving oneself to somebody or something. Kamila Czosnyk puts us in a situation in which this act of devotion is at the same time an act of oppression which makes us ultimately captive.
The lyrics: “Blind Willow, Sleeping Woman” by Haruki Murakami
“(…) There is a lonely woman sleeping in this house. Blind willows grew around it. Blind willows put her to sleep. They produce a very powerful pollen. A fly covered with this pollen enters the ear and puts the woman to sleep – eats her from the inside (…)
The blind willow looks small, but it has terribly long roots. Actually, after it has reached a certain age, it stops growing upwards and it only grows downwards. As if it fed on darkness. (…)”
An experimental performance entitled “Second Wedding” is based on the techniques of The Laboratory Theatre, and was recorded in 2014 in Lublin. The persons who participated in the experiment were: Kamila Czosnyk, Agnieszka Dubiel, Kazimierz Król, Maria Lesnikova, Arkadiusz Orzechowski and Aneta Nieścior.
Federica di Carlo, I Saltatori (The jumpers)
It is said that the observer should complete the art work; in the case of Federica Di Carlo this does not occur. She herself opens it, dilates it, expands it into space showing the sequel, the unsaid, the depth of the image. The actions staged by the artist, together with the public, generate a creative event that can give back a totality of emotions that language can hardly carry, taking the observer beyond the image, taking him or her further. We only need a taste, a smell, a song to be overwhelmed by emotions and memories. It’s through the five senses that the Jumper re‐activates memory. A woollen sweater, a flower, a compact disc , a sweet, a picture: every object recalls the past, taking the one who sees it back in time and contributing to the construction of an invisible web connecting one with the lost person, through the red thread of memories. Every object, in its tangible materiality, corresponds to the immateriality of a shared moment and, thanks to its mnestic power, ties the bonds between the past and the present. It is thanks to the continuity of memory, to the permanence of one’s own individual experiences, that one’s identity is preserved. The jumper is an identity that has been very harshly tested by grief, that was divided but is now reborn, that consciously touches, smells, feels, sees and tastes. It does not land on a poppy field anymore, the symbol of oblivion, but on a warm and soft meadow of red wool… Finally ready to REMEMBER.
Ola Kozioł, The Horizon
The horizon cuts the celestial sphere into two parts; it draws a border between what is known (the space visible for observation) and what is unknown (the space which is covered by the Earth). “The Horizon” is an existential scream in a field, an attempt to describe the world. It is also a scream asking for the purification from the excess of images, from the excess of everythingness of everything. I thought I would be screaming longer. I am used to singing for hours. I didn’t suspect that it would end like this. I realised the performance on the day of my 30th birthday.
Rodrigo Lessa, Previous performances
“Previous Performances” is a short documentary video describing the performances held in Brazil. The performance “Roots” shows the origin of man in parallel with the evolution of percussive rhythm. “Fetus”, “Family Conflict,” “Ringer” and “The cross I bear” shows a series actions that destroy a family and make it a distracting environment. Finally, the performance “Beings” which identifies with the origin of man. The way he arrived on Earth and the construction of their identity.
Helina Metaferia, Clarity
“Clarity” is a short video performance that is meant to break the “fourth wall” of the traditional cinema and to engage directly with the audience through interaction with the camera lens. The artist attempts to deconstruct ideas about identity, the body and image through a simple gesture. The underlying interest is to see and be seen more clearly by cutting through superficial projections and misconceptions that block effective communication.
Adina Mocanu & Alexandra Sand, Untitled (supermercato)
In August 2013, we travelled to Reggio di Calabria, Italy. First of all, our intention was to conduct some public space interventions and actions, but we found ourselves in the position of walking for hours without meeting any people and this fact really changed our perception of this town, which seems to have descended from magic realism. So we decided to create a video in which we deconstructed the landscape that was behind us, we deconstructed the human absence-presence.
Roberta Orlando, Come Out Italy, Come Out!
Disorientation and inadequacy protected by lies.
It’s not easy to set yourself in places and situations which don’t belong to you, most of all if you want to come out, showing yourself, also to other people. The artwork called “Come Out Italy, Come Out!” is a loud scream into the deafness of a country which hasn’t taken any law against homophobic attacks or discrimination on grounds of sexual orientation in 2013. In Italy, the no-identification of LGBT realities forces homosexual people to hide themselves and it makes their coming out difficult. Life conditions are closed in a space you don’t know the exit from, where every voice is hushed and the perception of everything is warped. Until the moment when you take strength to come out, becoming conscious of yourself, individually and collectively.
In 2013, Italy is the 36th European country in terms of protecting LGBT rights according to ILGA Europe, and the law against homophobia and transphobia is still under heated discussion.
Ioana Paun, Maria Draghici, Indignation Index
August 2013: Romanian Government passes a draft bill – the Mining Law – that explicitly favours economic benefits of natural resource exploitation despite any environmental, social or cultural hazard. September 2013: 50 people and a film crew from Bucharest are relocated to a real rural location, into an imagined 2015, when the Mining Law gets put into action. Exposed fully frontal to the fictional privatization and the imminent bulldozing of the entire village, the participants get positioned as either enforcers or defenders of this controversial law. Divided spontaneously between prioritizing economic interests, national agendas or individual comfort, they slowly get absorbed into a battle that blurs precisely the only natural resource they are blindly using: natural water from the village well.
A film that equates the democracy sham of the Romanian elected president and the production politics of this film’s director.
INDIGNATION INDEX is a performative project that accesses the social texture by stimulating direct and authentic practice of solidarity. The project seeks to incite collective and active attitudes towards the status-quo dominating the social atmosphere in Romania and can be seen as a live experience that places the participants in situations that precipitate the discovery of affective and effective tactics of resistance. INDIGNATION INDEX is a simulated dystopia projecting a fully privatised Romania and exposing activists and socially active actors to this hyper-reality.
Talma Salem, Travesia
performer: Talma Salem
video: Ricardo Vincenzo
The performance of Talma Salem with the choreography by the American Sherwood Chen, travesía, is an intervention for public spaces that provides the adjustment of time and space through a continuous and stable movement. A quadruped body, without face, goes forward slowly looking for its equilibrium point on the horizon placed behind it. This intervention was created as a part of the project “Guerrilha Poética: cartografia dos sentidos” that won the prize Funarte Petrobrás Klauss Vianna 2012. The performance comes from a process of the artist’s immersion in a studio located in a former hospital, nowadays transformed into a cultural centre Condomínio Cultural (Instituto Cultural Mundo Novo). It happened after 3 weeks of living with 20 other artists.
A look inside. A body that goes forward and draws its path by itself.
Alba Soto, ACCIÓN COTIDIANA (Daily action)
Daily actions: This performance attempts to fulfil the need for communication and expression, often defined by the roles we adopt, social contexts and norms of behaviour. The piece uses two hairdryers as a private hiding place where nobody can hear you.
Scene one: impotence
Paweł Stasiewicz, All the doors one by one and find
Documented by: Paweł Owczarczyk
I walked around the neighbourhood in my home town looking for doorphones with identical passcodes (with a sequence of digits „*-1-2-3-4”). In two months’ time, I found five such doorphones.
Vaida Tamoševičiūtė, Free wall
The performance „Free Wall“ was made in Kaunas, Lithuania, at a former drug factory „Sanitas“ in autumn 2010, during the performance event „Silence Please!“. During this performance, I use my impersonal body as an object, a thing. A naked body stands next to a wall, with its mouth taped. The body is powerless and silent, left alone to the will of the audience. The audience is free to write on the wall (and body is the wall too) anything they would like to say. It is the audience’s freedom of speech and action. It is also a search for my personal boundaries of freedom. It is the freedom from physical and psychological boundaries of the body: cold, fear, intimacy, discomfort, shame. It is an attempt to love, to stay free and to take life as it is; to listen to what it’s saying to me and to remain silent.
Surya Tuchler, SpieluhrMund (“Music boxMouth”)
In the video performance ”SpieluhrMund“ Surya Tüchler, looking directly into the camera, slowly opens her mouth as if she wants to tell us something. It’s like a soundless scream. Then she puts a small wooden music box into her wide opened mouth. She starts to play the tune of the music box. It’s a melody of her childhood. The artificially produced sound replaces the organic language and the music box becomes a tool to communicate with the person opposite. The title of the video performance „SpieluhrMund“ is a combination of the two materials of the performance: a music box (in German „Spieluhr“) and the mouth (in German „Mund“).
Maja Ziarkowska, Siejeje
The video performance „Siejeje” belongs to the cycle of works concerning songs for children. Its final aim is to record a CD on which one could see and hear alternative versions of well-known songs, including religious ones, which are taught to very young children.
As I listen to the lyrics of particular songs, I notice their often pessimistic message. As if they were to accustom the children to the world of the adults, full of cruelty and evil. Mindlessly repeated, they stick in your head with their characteristic mechanicalness of reproduction, and they create the subsequent stage of life. Due to its religious character, “Siejeje” constitutes for me a reflection on such mechanical actions and behaviour widespread in many religions of the world.