- watch: 4th July 2019 at 11pm UTC
- duration: 45min
In the performance piece for OPAF I will use my temporary situation of dislocation to wear all the things I own at once. Currently I have relocated from Glasgow to Vienna for three month to work for a Contemporary Dance Festival – So I\’ve only brought a careful selection of clothes with me! This careful selection of clothes is supposed to last me through these 3 month: Be my companions. Be my tissue and helping hand in painful moments. My anchor. The thing in my immediate environment which has a story I know. The rest of the apartment here is empty and sterile and simply foreign. If I will wear all the things I own at once … how can it help to negotiate my temporality in space? Can help negotiate a sterile space? Change a space? What is the relation between space and ownership and responsibility? Does it come as a preposterous move to use all my resources at once? Is the sense of “belonging” in a foreign place liberating or can it be a burden too?
BIO: I like salad. Nature. Location, dislocation, orientation and disorientation. (And somewhere in between where there is restriction that causes production). Dancing and moving in space is joy. I want to touch things. Grass, old people, brick stones, textiles. Especially plants and textiles! If I could pick a place where I like to work in – than it would be nature. Spiral Jetty. Roni Horn. Rebeka Horn. Alpen Horn. In the mountains at first choice, because they are eerie and big and make me feel small. Can you wrap the Himalaya in cloth, Cristo? When I could pick how to work – then it would be collaboratively. The best ways to trigger interesting new stuff is through a dialogue. I saw Marina Abramovic in the MoMa. I went every day. Personal exhaustion and habit. I hide things in public places, but don’t like the idea of photographing them. That might disturb the natural organic relationship between me and the hidden things. It’s tricky Dogma 95 has explored this with film. But how can I still leave a mark or show a process without deviating from what was actually there, experienced and remembered in the process of art making? My personal preferred kind of material are textiles – because they are so versatile and can be wrapped around the human body. The human body is the thing I know a bit at least. I don’t know much about the world, but I like being here. One thing I struggle to come to terms with is that humans can only perceive three dimensions, but theoretically there can be more. Does this make me a sculptor? Sculptor of what? Context is key. Let the room burn. ARTIST’S WEBSITE