We are continuing with DAY’s upcycling workshops and taking part in De Kolenkit Centrale project initiated by Cascoland based on three whales: farming (food production), cooking (food preparation) and the value of waste. As part of “Maak je Stad” program, organised by Waag Society and Pakhuis de Zwijger it develops the idea of De Gezonde Stad (the Healthy City).
“Urban resort” is a site specific performative video. This work is reflecting on the fully changed environments and increase of urbanization in the city of Amsterdam where commercial and artistic spheres merge in a surrealistic outcome. The performance done in the nostalgic landscape on the edge of two worlds: broedplats Lely and new offices. In this story there is a way to escape the sense of a burden by neglecting the everyday duties. “The One time use” ideology is heavily present by giving another meaning to those objects, creating a playground out of building materials.
A group performance inspired by a work from the Stedelijk collection – Blue Red Rocker (1963) by Ellsworth Kelly.
Ellsworth Kelly explained his own work in 1996 by stating the following: “I think what we all want from art is a sense of fixity, a sense of opposing the chaos of daily living. This is an illusion, of course. Canvas rots. Paint changes color. But you keep trying to freeze the world as if you could make it last forever. In a sense, what I’ve tried to capture is the reality of flux, to keep art an open, incomplete situation, to get at the rapture of seeing.”
A natural, physical continuation of the Rocker – a movement based performance, reaction to the sculpture through the body movement. We were interested in the space that the sculpture creates – the illusion of a triangle while the sculpture has only 2 surfaces. Interpretation of the balance is a triggering aspect of this work, so we developed it through the movement and interactions with each other and the audience. Starting with rush and chaoes, serving as “tranquillizers”. The movement of leaning on the other person, including people from the audience, created the imagined movement back and forward evoked by the sculpture.
Blindfolded, bare feet, with headphones and a helmet on my head I let go of control and simply follow a rope that leads me through the 40 minutes of an individual experience ‘Door into the Dark’ by an English art collective Anagram. I feel safe, the chances are small that something disastrous would happen to me in an art gallery. However it is physically and emotionally saturated experience.
From the very beginning of the journey, having to empathize with a blind person is so intense that it makes me cry. The fact that my grandfather is loosing his eyesight makes this experience more dramatic and I wish the introduction story was less confronting. I am experiencing the environment with my hands and body, adapting to a new situation, not being sure about anything and trusting my own senses. These sensations together with my personal thoughts worked so strong that I can now say that for the first time in my life an installation made me cry.
Surrendering to the void, risking, and sometimes feeling lost is not something new to my mind. I like to exercise my ability to orientate and disorientate, to find a way to trust my intuition once again and let undiscovered paths unfold. Usually stepping into the dark is worth the risk, but I have to say that sometimes it gets my feet wet. This time it was just my eyes.
This work has been mentioned in the context of immersive theater, storytelling, interactive/ immersive installation, soundscape and more. I felt like I was inside a documentary film, but instead of my eyes, I was watching it with my ears, feet and hands. It was a new and intensified way of watching a film.
Our art collective DAY has taken it’s shape officially! The collective consist of me, Anna Dorota Radzmirska and Yulia Ratman. The three of us studied together in the Gerrit Rietveld academy in Amsterdam and have collaborated in various creative adventures and art projects. There’s always plenty to learn from the diverse skills that we possess, and our common goals keep us close.
DAY is crossing the borders that often have to do with ‘unspoken deals’. While falling into the logical misunderstanding of our unideal environment, DAY reveals other ways of looking beyond image. Even though the road could lead to vice or grace, our trio possess a conscious humanistic outfit. Apart from making personal works our collective is interested in practicing art process with other people of any age and beliefs, where the open dialogue, a new experience, the challenge and an exchange of views take place. “Enter” – the first public event of DAY was a blast. It was an explosion of creativity and fun in the public corridors of my studio. Guests were entering the space blindfolded through a big imaginary vargina and given creative exercises, accompanied with live music.
During the evening one to one Dinner performances took place in my room. Each performance was different and each revealed something about the characters of our guests.
The new space has been successfully consecrated, now we just have to continue with the good spirit that we just established!
Photo Gallery of Enter event.
I will feed the world…
One weekend I was cooking and serving breakfast, lunch and dinner to strangers in New York City. The performance was activated when someone from the audience decided to step in and to interact – to feed me and to be fed. Few times I got very hungry because nobody showed up. I was not starting the meal without a guest. Friday dinner turned out to be the most social. I fed 4 people. Performances took place in the gallery space, my room or the bathtub of the artlifelab, depending of the circumstances. The lenght of the spoons is adjustable – 180 and 90cm.
Residency program Edible bodies, Glasshouse ArtLifeLab, New York City, Brooklyn
– 27., 28., 29. January 2017, Performance in Glasshouse artlifelab, Brooklyn, NYC, USA
– A new studio space in Amsterdam from January 2017. Broedplaats Lely, Schipluidenlaan 12. See you in Amsterdam!
Performance in OBA (central library), Amsterdam. In collaboration with PINKoriginals.
I enjoy arriving to a performance without expectations, without reading about it beforehand and just see and feel what happens to me in the moment. What happened here was a lot. A lot of information, a lot of words, images, body movements – a mix of different forms of communication. Beautiful poetry combined with a kind of informative hyperactivity. Boldness and masculinity in contrast with poetry and raw, improvised body gestures. How come that a person is able to manage all of these ingredients at the same time and able to smoothly switch in between various forms. My eyes were so focused on the visually dynamic and interesting forms of this performance that my ears did not manage to absorb all the politically historical content, because it was a lot of information to take in. But that’s probably just me being too slow. Somehow a word ‘struggle’ comes to my mind, it was not a piece that I would call ‘easy going’ but probably that’s the whole point of it, to trigger uncanniness.
“Jeremiah Day (1974, USA) is re-examining political conflicts and resistances through unfolding their subjective traces and contexts through photography, speech and body language.” (info from the website of The Graduate School an the Postgraduate Forum of the Berlin University of the Arts).
It’s amazing how many different forms and temperaments a performance can be – from an abstract setup without words to an overflow of information and facts. A fiction can be a performance, a documentary can be a performance. A film or a performance can be a story in-between.
In September I was attending a performance of a Dutch artist Roos Tulen, during the food and art festival in Schiedam. She was serving Syrian food in a homey atmosphere. We were a small group sitting around the dinner table, connected in some way and consuming the experience. The food tasting was accompanied by a video projection on the table and the sound on the headphones. It was a story about Syrian refugees in the Netherlands. And once again, I was too slow to digest all the layers at once, as a “one sense at the time” person. I was tasting the food while listening to a story on the headphones and at times also watching a video. And I was all the time late with finishing the food, but I don’t like to eat fast, specially in the context of (layered) art. Roos explained to me that that is how quickly they eat in a Syrian family, so she had adjusted to it.
Somehow I believe that in the times of coping with constant rush, burnouts and information overflow, an artist could allow to slow down the space around him or her. Just below the dinning room there was my slow motion video playing. I stay loyal to the slow. Maybe because my part time job in a semi fast food cafe has traumatised me. Maybe because I love my slow Estonian friends.
Just came across this ‘what is now’ clock.
There I was, having some lovely time in Paris during the contemporary art fair Paris Internationale in the end of october, but not knowing what to do after the closing times of the galleries. The weather was too nice for an autumn evening so the mission was not completed yet. After a little research via Facebook I got to know about a late night performance in the member’s club of the filmmaker David Lynch. And so I went there to see the performance of American novelist, poet and criminal defense attorney Vanessa Place. I didn’t know she was an attorney until I googled her. She is also a codirector of an independent, nonprofit literary press, Les Figues.
It was the first time I saw her performance and I must say that the mix of experience of the space and the performance was intense in a good way. The club is designed in the style of David Lynch films – enigmatic, dark, sensual, distant and the performance was build around the forbidden fruit, the question of a suicide. The artist was reading out loud an interesting text touching upon experiences and just thoughts around the wish to die. It kept my attention because there was maturity, wisdom and also some kind of sweetness to it. The dark red setting of the performance was complimenting the act. Her words “Why do you want to live another year? Why do you want to live another two years?” made me wonder about the moments that we subtract from our future vision or an image in our mind and place into the now. I think that in my age many women live at least partly for their kids, but the only experience I ever had was living for myself. It probably made me into this independent woman who wants to live another year to at least try to fulfil her dreams and challenge herself, avoiding deep swamps. Now I sound like a western product, but I can’t disagree that doing what I love for another year would be great. To see and to show art that has depth and ability to take you to places that you want to explore.