MisplacedWomen?

Archive for the ‘Performances’ Category

Misplaced Women? @ Art-In-Public-Space Tyrol, Innsbruck

In Innsbruck, Performances, Workshops on May 17, 2018 at 9:00 am

In the frame of the “Misplaced Women?” performance art workshop by Tanja Ostojic, realised in the frame of the Art in Public Space Tyrol, in Innsbruck, Austria (May 2018), two workshop participants have been chosen on the base of open call. And the following six performances by Tanja Ostojic, Li Fu and Pippa Chase have been developed and performed in the carefully chosen variety of public spaces, in front of, and in interactions with diverse and numerous audiences:

 

On Friday, May 4, 2018:

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“Misplaced Women? and The Tourist Suitcase”, 30 min performance by Tanja Ostojic at Haupt Bahnhof/ main train station, Innsbruck. Photo: Daniel Jarosch

“Misplaced Women? and The Tourist Suitcase”, 30 min performance by Tanja Ostojic, on Friday, May 4, 2018, from 14:30-15:00h, at Haupt Bahnhof, Innsbruck.

 

 

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“CODE: Ich habe ja nichts zu verbergen!” 35 min performance by Li Fu, at Landhausplatz, Innsbruck. Photo: Daniel Jarosch

“CODE: Ich habe ja nichts zu verbergen!”, 35 min performance by Li Fu, on Friday, May 4, 2018, from 15:25-16:00h, at Landhausplatz, Innsbruck.

 

 

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“Eve is a Bridge”, 20 min performance by Pippa Chase, at Innbrücke, Innsbruck. Photo: Daniel Jarosch

“Eve is a Bridge”, 20 min performance by Pippa Chase, on Friday, May 4, 2018, from 16:20-16:40h at Innbrücke, Innsbruck.

 

 

On Saturday, May 5, 2018:

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“Misplaced Women? and The Tourist Suitcase”, 60 min Performance by Tanja Ostojic, at the Goldenes Dahl, Altstadt, Innsbruck. Photo: Daniel Jarosch

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“Misplaced Women? and The Tourist Suitcase”, 60 min Performance by Tanja Ostojic, at the Goldenes Dahl, Altstadt, Innsbruck. Photo: Daniel Jarosch

“Misplaced Women? and the Tourist Suitcase”, a 60 min Performance by Tanja Ostojic, on Saturday, May 5, 2018, from 9:50-10:50h, at the Goldenes Dahl, Altstadt, Innsbruck.

 

 

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“Doing Gender 8102.05.3*” , a 60 min performance by Li Fu, in front of the University, Innsbruck. Photo: Daniel Jarosch

“Doing Gender 8102.05.3*” , 60 min performance by Li Fu, on Saturday, May 5, 2018, from 12:25-13:25h, in front of the University, Innsbruck. Realised with performance assistance by Pippa Chase.

 

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“Der Roter Faden”, 42 min performance by Pippa Chase, in Hofgarten, Innsbruck. Photo: Daniel Jarosch

“Der Roter Faden”, 42 min performance by Pippa Chase, on Saturday, May 5, 2018, from 15:00-15:42h, in Hofgarten, Innsbruck, with performance assistance by Li Fu.

 

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Development and production: Tanja Ostojic, “Mispleced Women?” (2009-2018)

Produced with the support of: Kunst im öffentlichen Raum Tirol /  Art in Public Space Tyrol, Austria.

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Photos: Daniel Jarosch

For more information please see the event’s publicity and press coverage:

The Misplaced Women? Project Blog: 

Category: Innsbruck

Kunst im öffentlichen Raum Tirol / Art in Public Space Tyrol:

Die Bäckerei (online and printed program):

Tiroler Tageszeitung 12.5.2018.

SeeCult cultural portal 13.5.2018:

Radio Beograd 2, 17.5.2018 (12-13h):

 

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Mirror, Mirror – Spread Your Reflection!

In Berlin, Performances, Workshops on February 28, 2018 at 12:47 pm

In the frame of Tanja Ostojić´s Misplaced Women? workshop, January 22–24,2018, hosted by Kunsthalle am Hamburger Platz, Berlin, the following performance action has been developed and performed for the first time:

Mirror, Mirror – Spread Your Reflection!  –  a collaborative intervention with large mirrors in Berlin’s underground confronting manspreading, a habit of men sitting in public transport with legs wide apart, thereby covering more than their own seat.

By: Hoang Tran Hieu Hanh

With the participation of: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki and Jiachen Xu, without whom this intervention would not be possible.

Duration: ca. 2 hours

Locations:

U8, from Hermannstraße to Weinmeisterstraße

U8, from Weinmeisterstraße to Kottbusser Tor, change to U1

U1, Kottbusser Tor to Wittenbergplatz

U1, Wittenbergplatz to Schlesisches Tor

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“Mirror, Mirror – Spread Your Reflection!” by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu. Photo: Alice Minervini

Berlin’s underground station is a central meeting point in the public arena. Various people from all directions come together, pass each other silently or simply diverge paths. In such a rapidly-growing city, the underground has turned into the main means of transport and it is no longer uncommon to see people moving homes or moving their furniture by means of the U-Bahn.

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“Mirror, Mirror – Spread Your Reflection!” by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu. Photo: Jiachen Xu

Together with five other women holding large mirrors on Berlin’s underground, the collaborative intervention was a silent protest against manspreading faced by women in everyday life. Spectators were privy to the blurred relationship between the women due to the disjointedness of cultural backgrounds, age and style of clothing that characterised each woman.

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“Mirror, Mirror – Spread Your Reflection!” by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu. Photo: Alice Minervini

The aim of the subtle intervention was to point out an issue that has become quite normalised in our mind. The intervention showed that even when women appear silent, we are in fact all actors of the public-political sphere. For two hours, women deliberately reclaimed the urban space as a form of resistance.

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“Mirror, Mirror – Spread Your Reflection!” by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu. Photo: Sajan Mani

Separated and placed at different stations along the U8 line, each woman would, one by one, enter the carriage of the same train. We would sit in male-dominated areas, ideally opposite a man spreading his legs widely. The mirror would face him whilst we appeared to be hidden behind each mirror and yet, our bodies were physically always present

At the same time, each woman felt empowered by a small, symbolic act. Yet the impact was strong – we had created a place of surveillance by literally holding up the mirror to men (and to society). We sat a powerful mark on how men have been depriving women of the right to a space that belongs to all of us. We observed reactions of visible intimidation and uneasiness by men who were exposed to our confrontation. We disrupted the urban space and displaced men out of the seemingly guaranteed anonymity.

Using the mirror as a tool of resistance, I was intrigued in particular by its symbolic meaning and the questions it raised: What is (in-)visible? What becomes (in-)visible in public space?

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Text written by: Hoang Tran Hieu Hanh

Edited and published by: Tanja Ostojić

Photo and video documentation by: Sajan Mani, Alice Minervini and Jiachen Xu

For further actions check out the Spread Your Reflection page.

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Hoang Tran Hieu Hanh is a Performative Activist of Colour based in Berlin.

Misplaced Women? Performance Workshop in LADA London

In London, Performances, Reviews, Workshops on January 25, 2018 at 7:28 pm

I am delighted to share with you many amazing new contributions of the London itinerary of the Misplaced Women? workshop hosted by Live Art Development Agency and Dr Elena Marchevska in December 2016. Including videos, drawings, texts, photos and reviews. Please enjoy many active links below.

Please see this short video about the “Misplaced Women?” performance workshop by Tanja Ostojić in London.

3:50 min long video has been made by Dr Elena Marchevska and produced by LADA

People talking in order of appearance: Tanja Ostojić, Nicholas Harris, Teresa Albor, Dagmara Bilon, Camila Canocchi and (voice over) Elena Marchevska.

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Drawing by David Caines of the performance by Sophie Cero in the frame of Tanja Ostojic´s “Misplaced Women?” performance workshop in LADA, London, December 2016.

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Drawing by David Caines of the performance by Dagmara Bilon in the frame of the “Misplaced Women?” performance workshop by Tanja Ostojic in LADA, London, December 2016.

Misplaced Women?

LADA was delighted to host a London iteration of Misplaced Women? in December 2016. The Misplaced Women? workshop by Tanja Ostojić took place as part of a LADA residency being undertaken by the artist and researcher Elena Marchevska exploring Live Art practices and methodologies on working with issues of displacement. Tanja Ostojić ’s practice and the ideas at the heart of the Misplaced Women? project are so central to Elena’s thinking, and so vital to current issues, that it was a wonderful and timely opportunity to be able to invite Tanja to London.

Participants for the workshop were selected by an open call for proposals, and we were thrilled with the level of interest in the workshop from such a wide range of artists, activists and thinkers. Over two days the sixteen participants created a new community, and, following excursions into the badlands of East London, inspired a gathering of interested…

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Dagmara Bilon realised 3 performances on gentrification, home and identity in the frame of “Misplaced Women?” workshop hosted by LADA London, December 13 & 14, 2016

In Homes, London, Performances, Railway-stations, Workshops on March 13, 2017 at 1:12 pm

In the frame of Tanja Ostojić´s “Misplaced Women?” workshop hosted by Live Arts Development Agency London, on December 13 & 14, 2016, Dagmara Bilon realised 3 performance interventions which she has called “embodied investigations into home and identity; a protest against becoming a silenced and isolated as wallpaper, dedicated to the ever-changing landscape of London in the mist of gentrification.” 

For my first intervention I chose to unpack my heavy back-pack on  a street corner in Hackney Wick near the neighborhood’s formerly longest occupied squat. I took of my heavy rucksack from my back and start to unpack. It’s full of various objects, accumulated over time: my childhood toys, my children’s toys, things I need for work, such as gaffe-tape, iPad, mobile phone, cigarettes, wire, lots of stones to ground me, so as not to fly away, a black fabric sphere that symbolised the veil of grief for the loss of my father, white pieces of fabric that I use to collect my menstrual blood, pens, pencils, a toy-snake. As I unpack my bag it feels never ending. Bits and pieces of glitter, receipts, notes… Lots and lots of junk, but to me – a trail of my existence. All the objects are bare on the wet concrete floor. While I see them, I feel uncertain of my survival, slightly embarrassed, like a public emptying of the bowels, spilling of my organs. I don’t dare to look into anyone’s eyes;I start to pack my bag as quickly as I possibly can, stuffing things back inside my dirty old rucksack. But there is always something more, always something else spilling out…

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My second performance featured a surreal procession of a displaced female body in a red suitcase, walking in black high heels and black velvet tight leggings over a Bridge in Olympic Park, that leads to London’s biggest shopping mall,Westfield Stratford. In the morning on that day, I took my large red suitcase from my room that contains all my dresses and props from previous London performances. This is when the performance started. I carried the suitcase from my room in South East London to Hackney,down the stairs, down the road, and on public transport. While walking I’m reminiscing of my immigrationat the age of three with my mother from Poland to Germany, with one and only suitcase filled with our possessions. In my associations of a single woman standing by a bus stop with a big red suitcase, symbolises vulnerability danger, but also power. The power to move on. As I travel I notice the eyes of people peeking and then quickly shifting back onto their daily newspaper or smart phone.

Then,  standing by a bridge together with the group of participants from the “Misplaced Woman?” workshop. I open my suitcase and hand my items one by one to individuals in the group. To me this is a most humane and kind experience. To have my items held by others. I take off my golden sandals and step inside my black high heel shoes and through the two holes I have cut in the red suitcase. I squeeze my body into the suitcase and ask a volunteer from the group to lock the suitcase and point me straight over the bridge. I’m inside now, locked in. I can’t see where I am going. My legs are wobbly. The core of my body contorted. I want to speak: “am I going into the right direction?” — but I  don’t have a voice ‘in there’, inside the suitcase. Spontaneously, a member of the group directs me how to walk forwards. I feel even more powerless, cut off and disorientated. I have no choice but to follow instructions and to focus on my feet, to stay on the ground and continue moving forward.

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Dagmara Bilon performing “Misplaced Women?” in the Olympic Park, London, in frame of Tanja Ostojic´s workshop (December 2016)

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For my third performance, I shared an intervention with three women from the “Misplaced Woman?” workshop at Hackney Wick Overground Station. I chose to locate myself on the other side of the platform. It was not ideal for documenting the action. I deliberately wanted to experience the gap between us and the feeling of loosing side of each other as trains move in and out of the platform.

The last time I saw my father was on the other side of a platform in 1985.

I place my red suitcase on the floor and slowly unpack all my dresses and props from previous London performances. Each of them with a story to tell, the dust of previous locations, the smell of sweat or dump, and leave a trace of these items around me that for a sort of island.

I’m standing in the middle of the island and at last pull out a huge Cunt Sculpture. I stand up on the bench “on my island” and hold up my Cunt up high. A train comes into the platform. People are going in and out. A man takes a picture from within the train. The doors are closing. The train moves out again.

I step off the bench, pack up my suitcase again and as I walk over to the other side of the platform to join the others, a mother with a baby looks at me beaming and asks if it was a vagina that I was holding up?

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Text written by Dagmara Bilon

Edited by Tanja Ostojić and Danyel Ferreri

Photos featured in this post taken by the “Misplaced Women?” workshop participants, London, and Aleksandar Utjesinovic

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Dagmara Bilon (b.1981) is a London based Polish/German Performance Artist, Co-Founder of The Purple Ladies Performance Collective, Artist Mentor on The Talking Gender Project and Project Manager of The MotherHouse. Since graduating in 2003 from Trinity Laban with a degree in Dance Theater she has worked as a performer for companies such as Punchdrunk, Psychological Art Circus, The Bones Theater, Marissa Carnesky, Ear Cinema and Lundahl&Seitl. Simultaneously she created and produced her own independent performance projects including staged works, sight specific interventions and one to one performances. More recently she focused on developing performance actions that challenge the notions of motherhood and identity and exhibited work alongside The Desperate Art Wives. She has also conducted various community arts led projects engaging young people in the discourse of gender, sexuality and identity. www.dagmarabilon.com

Alice Tuppen-Corps unpacked her suitcase on December 14 2016 and created the “Wherever I Lay My Hat That’s My Home” Performance in Hackney Wick London

In Homes, London, Performances, Workshops on March 13, 2017 at 12:00 pm

Alice Tuppen-Corps unpacked her suitcase on December 14 2016 and created the Wherever I Lay My Hat That’s My Home Performance in Hackney Wick London, in the frame of “Misplaced Women?” performance workshop lead by Tanja Ostojić, hosted by LADA.

Wherever I Lay My Hat That’s My Home, Solo Performance for Film (Private). White Post Lane. 5.30am – 6.30am and Solo Performance for Film (Live Audience) LADA 14th December 2016.

Alice’s research investigates how specific forms of encounter with individual stories and personal objects can act as enabling agents, transforming the emotional, psychological and creative experience of worlds. In this piece, ‘Wherever I Lay My Hat That’s My Home’, the artist took possessions from her own home to include: a portrait of herself aged four years old, an Eiffel Tower gifted to her in Paris by a lover, her broken wedding ring, two lion hats, a whip, a box of matches and a spikey golden hedgehog.

Foremost a filmmaker, (as well as and significantly here a divorcee), Alice experienced the first day of the workshop with Tanja as a ‘watcher’. She absorbed the performances of others whilst waiting for the moment it felt right for her to perform. That moment came in the early hours of the following morning, inspired by the place she encountered as her ‘home for the night’, an artist’s squat in the East End of London.

‘Alice walked in. She was welcomed, perturbed even, by a new world of waiting objects: a guillotine, two dressmaker’s dummies, broken pots, old papers, a crumpled bed. Placing her suitcase on the floor she took off her hat, coat, shoes and she dressed the two dressmaker’s dummies that confronted her. Arranging her portrait amongst the other pictures on the wall she laid out her own vessels, four little dishes and a Van Gogh teddy bear. Alice infiltrated the space through the slow positioning of her objects. She embodied the space as she integrated her objects with those of the absent ‘host’, in this way she re-storyed herself into a new place of belonging. Alice made the squat her home. The two dummies became her ‘animated’ roommates. She re-worked these characters as symbolic of others she had, lost, left, displaced by her leaving her own home and former relationships. Seeing the characters before her, changed and enlivened by her interventions, she saw others and herself more clearly. As the dummies spoke back to with such autobiographical agency, Alice accessed and activated memories that allowed her to reposition herself. She became placed.

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Alice Tuppen-Corps: Live Performance with Portrait, Photo: Shannon Mulvey

Alice Tuppen-Corps Live Performance with Hat (7)

Alice Tuppen-Corps: Live Performance with Hat

Alice documented the process and re-performed the ‘unpacking’ of the suitcase to a live audience at LADA that evening and in dialogue with onscreen photographs of the objects when in-situ at the squat. In the live, audiences were dressed by Alice and given offerings from the case to ‘care for’, one audience member said that ‘she felt a transformative wave flow over her, issuing out from the performer, touching the audience and drawing them into the co-generation of a [third space], simultaneously journeying inward to self, outward towards performer and across to the screen’.

Video: Wherever I Lay My Hat That’s My Home

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Alice Tuppen-Corps is a practice-based Ph.D. Researcher and Digital Performance Lecturer at De Montfort University. She was trained at Goldsmiths College and The Slade School of Fine Art with a background in Broadcast and Media Production, Higher Education and Arts Psychotherapy.  She is a Ph.D. practice-based researcher and artist based in the East Midlands.

She is principally investigating ‘Digital Performance and the Feminine: Transformational Encounters’. In her artistic practice she filmically re-stages individual stories within augmented, networked and tactile environments in order to generate new qualities of reflective space that empower transformation, contemplation and connection. Bracha Ettinger’s concept of ‘Carriance’ is theoretically foreground, allowing ‘the other’ to be ‘within me [him/her] charged’. Alice adopts Ettinger’s concept of ‘Thinking (M) otherwise’ (2006) and performatively facilitates her participants to co-create within matrixial spaces of technological, sculptural, filmic and relational aesthetics. Like a ‘Mobius Strip’, her artworks reciprocally and affectively touch back and within such artistic carriance structures, a hopeful and restorative dance is activated in self and other regardless of sexual or gender identification. www.alicetuppencorps.com

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Text: Alice Tuppen-Corps

Video: Shannon Mulvey
Photographs: Alice Tuppen–Corps, Shannon Mulvey

Email: alicecharlotte(AT)myself.com

Misplaced Women?/ Misplaced Nature? by Camilla Canocchi in the Westfield Shopping Mall Stratford London, December 14 2016.

In London, Performances, Shopping Center, Workshops on February 12, 2017 at 5:12 pm

In the frame of Tanja Ostojić´s “Misplaced Women?” workshop hosted by Live Arts Development Agency London, Camilla Canocchi realised on December 14 2016, a very charming 10 minutes long performance on displacement of nature in the context of gentrification, in the Westfield Shopping Mall, Stratford London. She wrote about it the following:

Misplaced Women?… Misplaced Nature?

I unpacked my backpack at the base of a tree, planted in a flowerbed with fake plants on the top floor of the Westfield shopping mall in Stratford. Among my belongings were five bird whistles I have been working with recently and decided to play them, one by one, while looking at the tree, allowing pauses to hear a reply, which, as I expected, never came.

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Camilla Canocchi performing “Misplaced Women?… Misplaced Nature?” with bird whistles in the Westfield Shopping Mall, Stratford London, December 14 2016. Photo: Tanja Ostojić

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Camilla Canocchi performing “Misplaced Women?… Misplaced Nature?” with bird whistles in the Westfield Shopping Mall, Stratford London, December 14 2016. Photo: Tanja Ostojić

 

Call and response: it’s a game we play everyday, trying to communicate with each other, sometimes successfully, sometimes not. Being in a foreign country, speaking a different language, trying to connect with people around us – this is something we have all experienced at some point in our lives. When communication fails, it’s easy to feel misplaced, isolated, lonely. Some, like migrants and homeless people, experience this much more often than others.

And then there’s nature. The area of Stratford and its surroundings – where we have toured with Tanja Ostojić and the workshop participants – that has undergone a process of complete gentrification in recent years, mostly as a result of the Olympic Games held there in 2012. The enormous shopping centre, next to the Olympic Stadium with its artificial environment, was built there for this reason. Where is the nature that once belonged there? Where are its inhabitants? Gentrification misplaces people, and nature too.

 

Camilla Canocchi is a writer and performance artist based in London

Photos: Tanja Ostojić

Teresa Albor´s performances, The Yard Theatre, Hackney Wick and Westfield Shopping Mall, Stratford London, December 13 and 14, 2016. in the frame of Tanja Ostojić´s “Misplaced Women?” in LADA

In Borders, London, Performances, Shopping Center, Stories, Workshops on February 12, 2017 at 3:31 pm

In the frame of Tanja Ostojić´s “Misplaced Women?” workshop hosted by Live Arts Development Agency London and Elena Marchevska, Teresa Albor realised a series of two very strong performances on displacement:

December 13, 2016, The Yard Theatre, Hackney Wick, 2-4pm

December 14, 2016, Westfield Shopping Mall, near Olympic Park, Stratford, 1:45-2pm

On December 16, 2016 she wrote the following related statement:

Packing up the large objects this morning, the bright orange life jacket (child size), the beaded scarf, the soft black little girl’s jacket.  The smell— part smoke, part sweat, musty, human.  Then the small objects—into the orange envelopes and then the zip lock bag, the bits and pieces of jewelry, including the fragile, fragile necklace, all tangled up, hopelessly tangled up.

I imagine,the women who are preparing to be evacuated from Aleppo this morning.  They are packing up what little they can bring.  Little girls (perhaps oblivious), teenage girls (dreaming of a future?), mothers (thinking of their children’s needs).

Clio looks good in red so I have bought her a red dress.  Libby wants a particular book for her medical studies.  I put the red dress in a black box and tie a red ribbon around it.  I wrap the book in silver paper.

Someone else, once carefully packed the things I brought to Hackney Wick. All these objects once belonged to others, who took risks, who are hopefully somewhere where they feel safe, where they can dream, love, argue, fall out of love, make plans for the holidays.

The mall is busy.  People are trying to find things to give to others.  To make them smile, to show somehow—as impossible as it might be—how much they love them.

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Please see Teresa Albor´s video of her performance in front of The Yard Theatre, Hackney Wick, London

The necklace is hopelessly tangled.  I spend a good hour trying to ease the knots out.  First I try to soften the snarl, gently easing the tiny chain into a loose little heap.  Then I try to find the ends and see how long a length of chain is possible.  But this makes the knot in the middle grow tighter and tighter.  My fingers are numb from the cold, with little dents where I have been holding the chain.  It seems maddeningly simple.  I picture the untangled chain.  I picture it hanging around the neck of a woman.  She is smiling.

Tosha needs someone to babysit.  It’s not easy being a single mother.  She says it’s hard for her, now that she has a son, to watch the news, to see woman and children, the bombardment, their desperate flight.

I feel vulnerable sitting on the cement paving stone outside the Omega watch store.  Someone else has the power.  A man with a vest that says “security”.  Calling out names: Amena, Yana, Ola, Liliane, Nour, Kamar, Lamma Dayoub, Qamar, Haya, Zeinah, Aya, Nooda, Ranim, Reem, Asil. Please be safe.  What is the worst that can happen to me?  What is the best thing that can happen to you?

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Teresa Albor performing in Westfield Shopping Mall, London, (December 14, 2016. 1:45-2pm) Photo: Tanja Ostojić

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Teresa Albor performing in Westfield Shopping Mall, London, (December 14, 2016. 1:45-2pm) Photo: Tanja Ostojić

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Footnote: Clio, Libby and Tosha are Teresa´s daughters.

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Things I learned in the workshop:

The advantages of being our own audience: Working together, watching each other, making work for each other to see, acting as a magnet in public spaces to draw others in, acting as a protective shield when there’s some question about our “right” to make work in public.  Being open to each other.  Allowing everyone to be at a different point in his or her process. Observing each other and learning from each other.

Explaining to security: The art of just describing what is actually happening. “I am looking for something.”  “She is wrapping a present.”  The power (see above) of being able to focus on an action whilst someone else does the explaining.

Gut feeling + props:  The need to allow your gut feeling to direct you, to give you ideas.  To have the props but then let the action evolve.  But to still be able to edit one’s self, and question one’s ideas, and not to incorporate every single idea.  I have so many ideas.

Also, I wanted to say how much this workshop meant to me. This was a new way for me to work with these objects– the second piece, a way to put myself into the work, to make myself a bit vulnerable. It has given me plenty to think about. Once again, thanks to Tanja Ostojic for her warmth, patience, openness– for making us all feel so safe, and so encouraged as artists.

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Teresa Albor is London based performance and visual artist interested in how different groups of people negotiate the world. Her work is research-based and often involves broad collaboration. It can involve video/moving image, performance, installation, publication, community-based workshops, and forms of artist-led curation.

www.TeresaAlbor.com

www.TheThingsWeLeaveBehind.co.uk

www.Paradox-of-Order.com

www.Rufus-Stone.org

Photos: Tanja Ostojic

Video: Teresa Albor

Cherry Truluck, Misplaced Women workshop LADA London, December 13/14 2016.

In London, Performances, Workshops on February 12, 2017 at 2:35 pm

Misplaced Women? Workshop by Tanja Ostojić, 13th—14th December 2016 at LADA London

I have moved house all my life – I’ve lost track of how many homes I’ve lived in but it’s more than 30 – mostly in the UK, but also Germany and Belgium – so I was really drawn to the idea of returning to London (which I left 2 years ago) to be part of the ‘Misplaced Women?’ workshop. And then, in a lovely moment of coincidence that felt like more than that, Tanja decided to open the workshop with a performance in front of the warehouse that used to home ]performance s p a c e[ who – like me, have also escaped London for Folkestone in Kent.

I took in the other performances with interest – the vulnerability that emptying your bag in public created for some was in stark contrast to the way others used the opportunity as a platform to tell a particular story or explore an idea.  I was extremely conscious of our collective role as a mobile audience throughout and began to consider how our behaviour as  audience members focused our attention away from our surroundings – even in a busy shopping mall or the rather eerie Olympic park.  As we assembled and reassembled for each performance, I kept thinking about the ‘everyday’ nature of the root performance – the simple act of emptying and re-packing your bag.  It is the kind of thing that could almost go unnoticed in a crowd…. So I began, slowly, hesitantly (because to be honest I am terrified of the idea of performing) and completely unannounced, to remove each unremarkable object from my bag and arrange them carefully on the bench beside me.  Occasionally I looked around at the other participants, but no-one registered what I was doing as a performance, which suited me just fine.  I repeated the performance four times in total that day – each iteration slightly more exaggerated than the last and capturing the final one on camera whilst everyone ate lunch around me.  I catalogued the items in my bag – nothing had been placed there specially for the workshop but I instinctively wove together a story from the random selection of objects which suddenly seemed to have real personal resonance – as if they had been on a journey with me (further than Folkestone Central to Stratford…).

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Please see  Cherry Truluck´video-performance

Cherry Truluck is one half of live art and performance design collaboration, Lucky Bert.

Photo & video: Cherry Truluck

Misplaced Women? performed by Tanja Ostojić, dedicated to the Missing and Murdered Indigenous Women in Canada. Sunday October 16, in front of the Art Gallery of Ontario, 7a*11d 2016, Toronto, Canada

In Performances, Stories, Toronto, Tram station on December 15, 2016 at 11:58 am

Tanja Ostojić

Misplaced Women?

Written by: Michelle Lacombe

When I arrive at Dundas and McCaul Street, a public has already gathered, creating semi circle around a woman who is holding a sign on which “MISPLACED WOMEN?” is hand-written. She is casual and seems to be waiting for something to happen. The public waits with her.

Meanwhile, I scan the area looking for Tanja Ostojić. I have have met her and so I know that she is not the woman holding the sign. I find her sitting in a nearby bus stop. She looks straight ahead, also waiting. She shares her shelter with a shopping cart filled with carefully stacked reusable shopping bags, a medium-sized suitcase and a half-empty bottle of coke. She blends into the site seamlessly and so I try not to call attention to her presence. I take my place in the crowd.

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Eventually Ostojić exits the glass cubicle, rolling suitcase behind her, and positions herself between us and “MISPLACED WOMEN?”. She removes her shawl and, rather brusquely, begins to empty her pockets, then her bag, then the bags contained in her bag until all of the contents, reduced to their smallest parts, litter the ground. She then shifts her attention to the suitcase. Clothes, after being inverted and having pockets and seams searched, are thrown onto her back. Anything else is pulled apart and added to the pile on the ground. She is looking for something, thoroughly searching in even the tiniest spaces.

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With Eszter Jagica holding the Misplaced Women? sign

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The last item she removes is a large black garbage bag and her motions slow down. She explores this object more curiously that the rest, eventually stepping into it, crouching and pulling it over her body. It fits. She then steps into the suitcase. Her body, in the garbage bag, again fits. She pulls the suitcase flap closed. She squirms, reaches out an arm and struggles to close the zipper. An audience member steps in to help. Seemingly concerned, an elderly man hovers around while Ostojić is stuffed in her suitcase, which is now clearly a tomb. I notice her body relax.

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42._y.jpgTo me, this part of the action, a pause of sorts, is the most evocative, striking and difficult moment in the work. As black plastic gently rustles over Ostojić’s contorted limbs, I think about the people whose bodies are found like this, in suitcases and in garbage bags: Guang Hua liu, Melonie Biddersingh, Lin Jun, Tina Fontaine, and countless others who I am sure exist, but who I either can’t recall or do not know about. Most of these bodies are women, most of these women are Indigenous or racially marginalized. Sadly, what we are being presented with is a horror that is easy to imagine. It is familiar and right in front of us.

Eventually Ostojić emerges, lights a cigarette and smokes it. In solidarity, she has just embodied something and sits upright in the open suitcase to visibly reflect on it. She then slowly returns order to the pile of scattered items.

91.y.jpgAs Ostojić repacks her things, a woman who has clearly just finished her shopping, arms full and ear buds in, walks over and hands her a fresh plastic bag. This simple public intervention sticks with me and I feel like an asshole when I realize how we must appear to those who do not register this as a performance. Quick to help her get into her tomb, we are now collectively distant as Ostojić works to recover and move on, back to her glass shelter. This woman however, tried to help.

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Source: http://7a-11d.ca/tanja-ostojic/

Photos: Henry Chan

Misplaced Women? performed by Tanja Ostojić, Sunday October 16, in front of the Art Gallery of Ontario, 7a*11d 2016, Toronto, Canada

In Performances, Toronto on October 16, 2016 at 11:31 pm

“Misplaced Women?” 45 min performance by Tanja Ostojić, Sunday October 16 at 2pm, at tram stop downtown Toronto (corner of McCaul and Dunda streets) in front of the Art Gallery of Ontario, as part of the 7a*11d 2016 Performance Festival in Toronto, Canada.

 

Dedicated to the missing and murdered indigenous women in Canada.

“The land we are on is the territory of the Huron-Wendat and Petun First Nations, the Seneca, and most recently, the Mississaugas of the Credit River. The territory was the subject of the Dish With One Spoon Wampum Belt Covenant, an agreement between the Iroquois Confederacy and the Ojibwe and allied nations to peaceably share and care for the resources around the Great Lakes.Today, the meeting place of Toronto is still the home to many indigenous people from across Turtle Island and we are grateful to have the opportunity to live in the community, on this territory.”

Video excerpt: Jasmina Tumbas

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