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AT THIS POINT, IN FACT, TRULY ANYTHING HAD BECOME POSSIBLE
COSTANERA ( BUENOS AIRES )
You will have to try and describe the intolerable without having anything with which to pull yourself out of it. You will have to remain faithful to that inexplicable silence. You will be able to reply to the unbearableness of that silence only by means inherent to it.
COSTANERA ( BUENOS AIRES )
You will have to try and describe the intolerable without having anything with which to pull yourself out of it. You will have to remain faithful to that inexplicable silence. You will be able to reply to the unbearableness of that silence only by means inherent to it.
WHEN
An 'Affect' is a gap between the emotional responses that one might expect the content of an event to produce, and autonomic reactions. Autonomic is defined as a part of the nervous system in humans and other vertebrates that control involuntary activity, for example the action of the heart and glands, breathing digestive processes and reflex actions
‘When’ is an event that engages with the audience's senses on the level of ‘affect‘, operating outside of narrative logic and representational signification. The aim is to transmits affect not through communicative, acting techniques of performing emotion, but by inserting my body, in a state of autonomic intensity, into a context of containment, uncertainty, and anticipation.
For the waiting crowd, the partial absence of visible activity, combined with an unfulfilled sense of anticipation, manifests as an edgy mood which outcome is uncertain. Will people lose interest and leave, feeling disappointed? Will the intensity rise to an explosive level as the crowd's expectations remain unsatisfied?
An 'Affect' is a gap between the emotional responses that one might expect the content of an event to produce, and autonomic reactions. Autonomic is defined as a part of the nervous system in humans and other vertebrates that control involuntary activity, for example the action of the heart and glands, breathing digestive processes and reflex actions
‘When’ is an event that engages with the audience's senses on the level of ‘affect‘, operating outside of narrative logic and representational signification. The aim is to transmits affect not through communicative, acting techniques of performing emotion, but by inserting my body, in a state of autonomic intensity, into a context of containment, uncertainty, and anticipation.
For the waiting crowd, the partial absence of visible activity, combined with an unfulfilled sense of anticipation, manifests as an edgy mood which outcome is uncertain. Will people lose interest and leave, feeling disappointed? Will the intensity rise to an explosive level as the crowd's expectations remain unsatisfied?
HOUSEWARMING
"Openness in being occurs in the form of a world, that is a field, a topography, where nothing visible shows itself without hiding most of itself." Merleau Ponty
The show took place in a London East End council flat waiting for demolition. Housewarming is an experimental piece that takes audience's members on a journey through the hidden life of a building, questioning the criteria upon which the end of its existence has been decided. When can a building be destroyed and what kind of impact do these policies have on its residents' lives? As a consequence of these decisions, what can the traces left by forced migrating bodies tell us? Within the spacial realm of performance and installation, alongside three other artists I have responded to how the tenants' lives have been affected by policy making. Stifled past voices are given a moment to speak, rippling underneath, unarticulated, invisible yet most potent. As artists and temporary new tenants, we brought our own customs that for the final time overwrote the last layer of cultural reference before the building is destroyed.
"Openness in being occurs in the form of a world, that is a field, a topography, where nothing visible shows itself without hiding most of itself." Merleau Ponty
The show took place in a London East End council flat waiting for demolition. Housewarming is an experimental piece that takes audience's members on a journey through the hidden life of a building, questioning the criteria upon which the end of its existence has been decided. When can a building be destroyed and what kind of impact do these policies have on its residents' lives? As a consequence of these decisions, what can the traces left by forced migrating bodies tell us? Within the spacial realm of performance and installation, alongside three other artists I have responded to how the tenants' lives have been affected by policy making. Stifled past voices are given a moment to speak, rippling underneath, unarticulated, invisible yet most potent. As artists and temporary new tenants, we brought our own customs that for the final time overwrote the last layer of cultural reference before the building is destroyed.
DIMENSIONAL THIS...
An investigation of the porous edge between self and world. What do we allow and internalize? What do we defy? What revolve around us because of our action or inaction? What do we let go of?
An investigation of the porous edge between self and world. What do we allow and internalize? What do we defy? What revolve around us because of our action or inaction? What do we let go of?
OPERATION TO STAND STILL
A performed action’ as a response to a space and the objects found in the immediate surrounding.
Emptiness and a ram's head suggested an exploration of the notion of behavior guilt and obsessions without resolution.
The poem (Operation to stand still notes on RJ' see texts) which steamed from this action, explores how the animal can affect the human, questioning memories and posing the self in encounter with subconscious resistance.
A performed action’ as a response to a space and the objects found in the immediate surrounding.
Emptiness and a ram's head suggested an exploration of the notion of behavior guilt and obsessions without resolution.
The poem (Operation to stand still notes on RJ' see texts) which steamed from this action, explores how the animal can affect the human, questioning memories and posing the self in encounter with subconscious resistance.
ECHOES
..a piece of wire which, with its delicacy stood violently outward into a milieu of pure exteriority, with an incredible velocity, a catapulting force: love and hate become no longer feelings but affects.
In these affects there are so many instances of the becoming woman, becoming animal of becoming warrior.
Affects trans-pierce the body like arrows, they are like weapons of war.
‘Echoes’ is an immersive experience combining intimate images and well-remembered confessions, blurring the lines between understanding and forgiving, between rejection and desire, between performance and life.
..a piece of wire which, with its delicacy stood violently outward into a milieu of pure exteriority, with an incredible velocity, a catapulting force: love and hate become no longer feelings but affects.
In these affects there are so many instances of the becoming woman, becoming animal of becoming warrior.
Affects trans-pierce the body like arrows, they are like weapons of war.
‘Echoes’ is an immersive experience combining intimate images and well-remembered confessions, blurring the lines between understanding and forgiving, between rejection and desire, between performance and life.
MIGRATION
'Migration’ is a photographic work that constructs an image of the ‘self’ on a journey in dialogue with art historical discourse.
‘Migration’ is defined as a group of people, birds etc. migrating in a body….
This challenges and underlines its complexity - the term is metaphorically rich, saturated with history.
This piece explores the limits of this concept, making use of, and transcend it, whilst referring to painterly and photographic traditions of portraiture as well as critical theory.
The body and its physical boundaries become a metaphor for psychological transgression, becoming landscape, food repository and corporal layering of flesh and fluids. Both viscerally and conceptually tuned.
Migration attempts t sustain the tension between the sensual and the grotesque, underlining the ambivalent relationship that we all have to our own vulnerable physicality, pushing and misleading notions of identity, individuality and sexuality.
Self in flocks (for Gilles Deleuze)
'Migration’ is a photographic work that constructs an image of the ‘self’ on a journey in dialogue with art historical discourse.
‘Migration’ is defined as a group of people, birds etc. migrating in a body….
This challenges and underlines its complexity - the term is metaphorically rich, saturated with history.
This piece explores the limits of this concept, making use of, and transcend it, whilst referring to painterly and photographic traditions of portraiture as well as critical theory.
The body and its physical boundaries become a metaphor for psychological transgression, becoming landscape, food repository and corporal layering of flesh and fluids. Both viscerally and conceptually tuned.
Migration attempts t sustain the tension between the sensual and the grotesque, underlining the ambivalent relationship that we all have to our own vulnerable physicality, pushing and misleading notions of identity, individuality and sexuality.
Self in flocks (for Gilles Deleuze)
Self as violable (for Fernando Pessoa)
Self as never future enough (for Jacques Derrida)
Self as Gargantua (for Mikhail Bakhtin)
Self as proportion (for Fyodor Dostoevsky)
Self as ear of the other (for Luigi Pirandello)
SPACE CRETINISM
Russian literary theorist Mikhail Bakhtin's study of the grotesque and carnivalesque, Rabelais and His World, posits the grotesque body as a cosmic body that is unfinished, becoming, entangled with the world, and decidedly erotic and sensual. This notion is set in opposition to the individualized, bordered and bourgeois body.
For Bakhtin, the individualized post-modern body has been annihilated by a peculiar desire to smooth its protuberances, conceal its excretions, and deny its vulgarities.
According to Bakhtin this cause a sensation of dread, which is a noticeable component of most people.
What is the source of this shifting, often faceless terror? Bakhtin observes that cosmic terror "is the heritage of man's ancient impotence in the presence of nature", in other words, the topography of terror is inscribed in the physical relationship between the human body and its environment.
‘Space – Cretinism‘ attempts to expose and dispel the physical trauma of contemporary life, provoking a bodily confusion in the spectator where he/she feels simultaneously within and without the confines of the flesh. This lead the audience to feel their corporeal being, from a clear objective vantage point, while at the same time, made hyperaware of what it means to dwell inside the skin and identify viscerally with the performer on a sensual level.
The spectator is implicated in a choreography that highlights the manipulation of everyday objects and dares to present an alternative physical and spatial reality.
Tripe, stomach, intestine are the bowels, the belly the very life of man but at the same time they represent the swallowing devouring belly.
In ‘Space - Cretinism’ a mask made out of a mirror, is used to play with this double image, we might say that the top and the bottom of the world, the upper and the lower sphere, are strikingly set into motion.
Russian literary theorist Mikhail Bakhtin's study of the grotesque and carnivalesque, Rabelais and His World, posits the grotesque body as a cosmic body that is unfinished, becoming, entangled with the world, and decidedly erotic and sensual. This notion is set in opposition to the individualized, bordered and bourgeois body.
For Bakhtin, the individualized post-modern body has been annihilated by a peculiar desire to smooth its protuberances, conceal its excretions, and deny its vulgarities.
According to Bakhtin this cause a sensation of dread, which is a noticeable component of most people.
What is the source of this shifting, often faceless terror? Bakhtin observes that cosmic terror "is the heritage of man's ancient impotence in the presence of nature", in other words, the topography of terror is inscribed in the physical relationship between the human body and its environment.
‘Space – Cretinism‘ attempts to expose and dispel the physical trauma of contemporary life, provoking a bodily confusion in the spectator where he/she feels simultaneously within and without the confines of the flesh. This lead the audience to feel their corporeal being, from a clear objective vantage point, while at the same time, made hyperaware of what it means to dwell inside the skin and identify viscerally with the performer on a sensual level.
The spectator is implicated in a choreography that highlights the manipulation of everyday objects and dares to present an alternative physical and spatial reality.
Tripe, stomach, intestine are the bowels, the belly the very life of man but at the same time they represent the swallowing devouring belly.
In ‘Space - Cretinism’ a mask made out of a mirror, is used to play with this double image, we might say that the top and the bottom of the world, the upper and the lower sphere, are strikingly set into motion.
MEANS WITHOUT AN END
‘Means Without an End’ is a one to one “performance/event” where a single member of the audience and the performer meet in a space and with a card game, the use of text, sound and the unique physicality of body contact, aims at discovering an infra sensual language that our reciprocal touch creates. The piece is an attempt to understand the structure and possibilities of “Touch” by exploring personal/social distances and proximities,in an event/performance, which involves interactive physical exchange in order to experience, investigate and question conventions of the body boundaries and the politics of contact improvisation.The emphasis on touch is a play on ambiguity, aimed to soften the perceptions of our boundaries and make us more aware of our own fragility and strength. The act of touching someone, like in a tango presuppose a certain demand an instance of response-ability, in the performance the idea is to flovor and shake the boundaries between permission and intention.
Tango is used here as a reference. In fact, it is the improvised nature of Tango that fascinates me and makes it possible for me to use Tango as an example of the politics of touch. Since the movements of Tango are always to come, it is impossible to speak of a Tango, as an ideal gesture or a contained negotiation: Tango in this instance works as an attempt to explore relations in the context of potential corporeal negotiations. Tango as an encounter it is a peripheral engagement with the world that introduces us to a different way of living with an other. It is a movement that offers the possibility of improvising our encounters. It is a dance that turns us toward an other to whom we might not speak. It is about movement between here and there, about an exchange between two bodies.
‘Means Without an End’ is a one to one “performance/event” where a single member of the audience and the performer meet in a space and with a card game, the use of text, sound and the unique physicality of body contact, aims at discovering an infra sensual language that our reciprocal touch creates. The piece is an attempt to understand the structure and possibilities of “Touch” by exploring personal/social distances and proximities,in an event/performance, which involves interactive physical exchange in order to experience, investigate and question conventions of the body boundaries and the politics of contact improvisation.The emphasis on touch is a play on ambiguity, aimed to soften the perceptions of our boundaries and make us more aware of our own fragility and strength. The act of touching someone, like in a tango presuppose a certain demand an instance of response-ability, in the performance the idea is to flovor and shake the boundaries between permission and intention.
Tango is used here as a reference. In fact, it is the improvised nature of Tango that fascinates me and makes it possible for me to use Tango as an example of the politics of touch. Since the movements of Tango are always to come, it is impossible to speak of a Tango, as an ideal gesture or a contained negotiation: Tango in this instance works as an attempt to explore relations in the context of potential corporeal negotiations. Tango as an encounter it is a peripheral engagement with the world that introduces us to a different way of living with an other. It is a movement that offers the possibility of improvising our encounters. It is a dance that turns us toward an other to whom we might not speak. It is about movement between here and there, about an exchange between two bodies.
AFTERNOON
This installation was set to explore the complexity of self-harm and the ways it is used as a coping mechanism, echoing between its emotional pain, sense of impotence and the romantic rebellion against dependence upon both people and things. The piece sees the sights of the connection between the controversial idea of ‘sharply becoming alive’ and the corner of a room. Corners often offer security for an emotional retreat, it is a place of safety and perhaps self-sufficiency, an imaginary narcissistic bubble where to hide and reconcile the tension between the physical and the spiritual.
The relationship between the delicacy of the silk and the claustrophobic sense that the enclosed space creates, juxtaposes feelings of pain and pleasure and becomes an illustration of how deep inside the human desire craves for both.
The piece is intended to direct the thoughts up and down suggesting that the self-harmer has spent his/her fair share of time looking elsewhere for hope without the energy to really embrace it.
By redirecting the visitor’s eyes and senses, the aim of this piece was to highlight the suffocating function of the skin and the endless and sterile search for a relief. The general perception is that there is identification with a sense of suffocation within the body; therefore there is the need to construct passages and routes of escape as an attempt to go somewhere else. The use of mirrors is the self-harmer desperate brainstorm as he/she searches for hope within him/herself. The ceiling and the floor allude to his/her own imaginary ‘escape routes‘ leading him/her to think that perhaps the real engines of hope in self-harm is not a blade or a knife but the ‘negative’ illusory spaces and the security that they hold.
This installation was set to explore the complexity of self-harm and the ways it is used as a coping mechanism, echoing between its emotional pain, sense of impotence and the romantic rebellion against dependence upon both people and things. The piece sees the sights of the connection between the controversial idea of ‘sharply becoming alive’ and the corner of a room. Corners often offer security for an emotional retreat, it is a place of safety and perhaps self-sufficiency, an imaginary narcissistic bubble where to hide and reconcile the tension between the physical and the spiritual.
The relationship between the delicacy of the silk and the claustrophobic sense that the enclosed space creates, juxtaposes feelings of pain and pleasure and becomes an illustration of how deep inside the human desire craves for both.
The piece is intended to direct the thoughts up and down suggesting that the self-harmer has spent his/her fair share of time looking elsewhere for hope without the energy to really embrace it.
By redirecting the visitor’s eyes and senses, the aim of this piece was to highlight the suffocating function of the skin and the endless and sterile search for a relief. The general perception is that there is identification with a sense of suffocation within the body; therefore there is the need to construct passages and routes of escape as an attempt to go somewhere else. The use of mirrors is the self-harmer desperate brainstorm as he/she searches for hope within him/herself. The ceiling and the floor allude to his/her own imaginary ‘escape routes‘ leading him/her to think that perhaps the real engines of hope in self-harm is not a blade or a knife but the ‘negative’ illusory spaces and the security that they hold.