MisplacedWomen?

Archive for the ‘Split’ Category

Misplaced Women? Split Station

In Split, Workshops on August 22, 2021 at 5:24 pm

(Scroll down for Croatian)

Tanja Ostojić’s performance workshop “Misplaced Women?” was held from April 6-8, 2021 in Split, organized by platform Culture Hub Croatia (CHC), as part of the year-round program of the project Voids2021. The following participants, selected on the basis of an open call, attended the workshop: Mia Bradić, Ines Borovac, Katarina Duplančić, Lissette Nicole Josseau and Alejandra Robles Sosa, as well, the workshop leader and the organizers from CHC joined as well. A public presentation showcasing the results of the workshop was held on April 8 in the Amphitheater of the Youth Center (Dom Mladih), with participants sharing reflections after their performances.

Tanja Ostojic: “On Rape Attempts”, performance, Peristil, Split, 2021, Photo: Neli Ruzic

“Misplaced Women?” is an art project by Tanja Ostojić consisting of performances, series of performances, workshops and delegated performances, which has been running since 2009, so we were extremely glad to be part of this distinguished project, especially because we managed to gather participants from different profiles and generations, who told their stories, touched upon numerous topics and opened some important questions with their performances.

“Misplaced Women?” workshop was held as part of the program of the project Voids2021, which, among other things, deals with the issue of space, so our work in the public space was above all a natural development of the program. Although so far within the project we have operated mainly in private spaces, or those on the border of public and private (with occasional “trips” to the completely public – as, for example, during last year’s performance of Mia Kevo’s “Common Sense”), in this year’s edition we chose to enrich activities in the public space. Public space, which by definition suggests something accessible to all, nevertheless includes restrictions (for example, determined by pandemic measures or city regulations), which indicate a certain power over the space of those who set these restrictions. At the same time responding to these constraints and challenging them, performance is in this sense a dialogue with the city, with the meanings of its places and public space that is in itself already strongly performative.

“Misplaced Women?” Workshop by Tanja Ostojic, Split, April 2021, video documentation of the workshop, 9 min

As an organization that has been operating without a physical space for work (hub) since its foundation, we are used to carrying out activities nomadically – in the premises of other organizations, cafes, souvenir shops, restaurants. Going out and acting in a public space in our work is a perfectly logical option. However, public space in a pandemic takes on an additional role or, more specifically, in our example, gains in importance – given the existing epidemiological measures and limited capacity of closed / private spaces, we are forced to use public space in our work if we want to carry out certain activities. We met the first challenge of not having our own space on the first day, when the introductory conversation was held and the participants were introduced, both to each other and to the work methodology. Due to the rain, staying outdoors was difficult, so we spent this introductory day on the stairs of the porch of the Fine Arts Gallery, where we learned more about the project “Misplaced Women?”, about different ways to participate and agreed on guidelines for the work on the following day. Participants were given instructions to think about their performance until the next meeting and to choose the personal items they want to use.

On the second day of the workshop, we met in the temporary office of “Voids” – Diocletiano souvenir shop in Bosanska 4. Some of the participants already had a clear picture of what they wanted to do, while the rest of the details formed in the later stage – even literally – being related to locations, as well as specific elements of individual performances. It was interesting to follow the process of developing the very idea of performance that was then taking place.

One of the main principles of the “Misplaced Women?” Platform, community building and building of the safe space for the realization of performances, was reflected in the fact that workshop participants, leaders, organizers, as well as friends of the organisation and gallery formed a dozen women and girls who moved around the city and supported each other especially in the process of the actual performances, collaborating on a creative and organizational level and participating in the works of other participants when it made sense, as well as giving feedback during discussions after each of the performances. By participating in this project, we have all become part of a large international community and were invited to join future international activities and meetings such as Misplaced Community performance weekends, exhibitions and gatherings.

Misplaced Women? workshop, by Tanja Ostojic, Split, April 2021, photo: Neli Ruzic

Finally, places of particular social and historical significance were selected, each corresponding to a particular performance. First, Peristil – as a place of power, in Tanja Ostojić’s performance “On Attempts at Rape” collaborating with Mia Bradić and Alejandra Robles Sosa, served as a place from which a woman is speaking from a “position of power” literally, while opening the public space to expression of trauma while facing with it within that space. 

A different connotation of the Peristil came from the performance by Ines Borovac – with her back turned to the bell tower of Saint Doimus, which in its masculine form towered over the fragile female body, naked and exposed to the storm and the cold.

Riva as a place of display of our own personality, like a catwalk, a place of validation (of women) was used in performance by Nicole Lissete Josseau, inviting us to symbolically leave everything that belongs to us as a decor and constructs our external identity. An interesting link here can be made with a commercial gallery or fair, but with the catwalk, where, in this case humanoid exhibits are on display, observed and evaluated as objects.

Two places – the bus station and the ferry port, as places of transition, crossing, movement, are symbols of nomadic life. They have become places of expression for those who are forced to travel (Mia Bradić) and those who are looking for ways to stay (Alejandra Robles Sosa).

The only performance moved from the city center, the performance of Katarina Duplančić, held on the plateau in front of the Youth Center (Dom Mladih), dealt with the topic of the precarity of cultural workers and the inability to separate private and professional spheres.

Finally, our performance, “Misplaced Organization?” is an act of struggle for the space of action. It was the only performance within the workshop with the score to perform no. 2: holding inscriptions, while the performances of Nicole, Alejandra and Mia took place according to the score for the performance no. 1: unpacking the personal bag. The scores served as an orientation and a frame, and the final form of the performance could be developed inside or outside of them.

Tourists were mostly those participating as public, which did not surprise us. From our experience, local people are mostly either surprised, or hesitant, or completely ignorant (what usually occurs after the initial surprise). This was particularly evident in Nicole’s performance. Thus, she became just another exhibit, almost instantly the subject of observation with somewhat hesitant interest, but without actually joining the performance act or questioning what exactly it was about. Finding new methods to encourage participation is proving to be necessary; however, we consider these individual contributions a significant step and progress.

A wide range of possibilities of reading and interpretation affects our understanding of public space but also our relationship to it. We must constantly remind ourselves that this can be a space of expression and a space of freedom, but that it remains a space in which power relations are very much visible. Therefore, any displacement from it should be questioned evermore.

In the post-production phase, a video of each performance was created, and every participant prepared a text about their work, the process and motivation. Video performances are posted on Misplaced Women? Vimeo channel, and bilingual texts on “Misplaced Women?” blog.

List of performances realised in the frame of “Misplaced Women?” workshop in Split:

“Misplaced Organization?” action by Culture Hub Croatia, Split, 2021, Photo: Andrea Resner

Interview with Tanja Ostojić, Dario Dunatov for vizukultura.hr 

Open Call text

Written & translated by: Culture Hub Croatia

http://culturehubcroatia.hr/en/

Edited and for the first published by Tanja Ostojic on Misplaced Women? blog, August 2021

Misplaced Women?, stanica Split

Radionica performansa Tanje Ostojić „Misplaced Women?“ održala se od 6. do 8. travnja 2021. godine u Splitu, u organizaciji platforme Culture Hub Croatia (CHC), a u sklopu cjelogodišnjeg programa projekta Praznine2021. Na radionici je sudjelovalo ukupno pet polaznica koje su odabrane na osnovu javnog natječaja koji je prethodno bio objavljen: Mia Bradić, Ines Borovac, Katarina Duplančić, Lissette Nicole Josseau i Alejandra Robles Sosa, a u izvođenju performansa pridružile su im se i voditeljica radionice, kao i organizatorice iz CHC-a. Javna prezentacija na kojoj su predstavljeni rezultati radionice održala se 8. travnja u Amfiteatru Doma mladih, pri čemu su sudionice iznijele refleksije nakon izvedenih performansa.

“Misplaced Women?” je umjetnički projekt Tanje Ostojić koji se sastoji od performansa, serija performansa, radionica i delegiranih performansa, a koji traje od 2009. godine, stoga nam je bilo izuzetno drago da smo postale dio ovog značajnog projekta, a posebice što smo uspjele okupiti sudionice različitih različitih profila i generacija, koje su ispričale svoje priče i svojim performansima dotakle brojne teme i otvorile neka važna pitanja.

Radionica “Misplaced Women?” održana je kao dio programa projekta Praznine2021 koji se, između ostalog, bavi i pitanjem prostora, stoga nam je rad u javnom prostoru bio nadasve prirodan slijed programa. Iako smo do sada u okviru projekta djelovali pretežno u privatnim prostorima, ili onima na granici javnog i privatnog (s povremenim „izletima“ u onaj potpuno javni – kao, primjerice, tijekom prošlogodišnjeg performansa Mie Kevo „Common Sense“), ovogodišnje izdanje Praznina odlučile smo obogatiti aktivnostima u javnom prostoru. Javni prostor, koji po svojoj definiciji sugerira nešto svima dostupno, ipak uključuje ograničenja (primjerice, određena protupandemijskim mjerama ili pak gradskim pravilnicima), a koja ukazuju na određenu moć nad prostorom onih koji postavljaju ta ograničenja. Istodobno odgovarajući na ta ograničenja i izazivajući ih, performans je u ovom smislu dijalog s gradom, sa značenjima njegovih mjesta i javnim prostorom koji je sam po sebi već snažno performativan. 

Kao organizacija koja od svog osnutka djeluje bez fizičkog prostora za rad (hub-a), naviknule smo aktivnosti provoditi nomadski – u prostorima drugih organizacija, kafićima, suvenirnicama, restoranima. Izlazak i djelovanje u javnom prostoru u našem se radu otkriva kao jedna savršeno logična opcija. Ipak, javni prostor u pandemiji poprima dodatnu ulogu ili, konkretno, u našem primjeru, dobiva na važnosti – s obzirom na postojeće epidemiološke mjere i ograničenost kapaciteta zatvorenih/privatnih prostora, primorane smo koristiti javni prostor u svom radu ako želimo provesti određene aktivnosti. S prvim izazovom ne-imanja vlastitog prostora susrele smo se već prvog dana radionice, kada je održan uvodni razgovor i upoznavanje sudionica, kako međusobno, tako i s metodologijom rada. S obzirom na kišu, boravak na otvorenom bio je otežan pa smo ovaj uvodni dan provele na stepenicama trijema Galerije umjetnina, gdje smo saznale više o samom projektu “Misplaced Women?”, o različitim načinima sudjelovanja u istom te dogovorile okvirne smjernice za sutrašnji rad. Sudionice su dobile upute da do sljedećeg susreta razmisle o svom performansu i da odaberu osobne predmete koje žele koristiti u njemu.

Drugog dana radionice susrele smo se u privremenom uredu “Praznina” – suvenirnici Diocletiano u Bosanskoj 4. Neke od sudionica imale su već jasnu sliku o onome što žele izvesti, dok se većina detalja iskristalizirala u hodu – pa i doslovnom – kako onih vezanih za lokacije, tako i specifičnih elemenata pojedinih performansa. Bilo je zanimljivo pratiti proces razvoja same ideje performansa koji se pritom odvijao.

Jedan od glavnih principa rada “Misplaced Women?” platforme, comunity buliding  i building of the safe space for the realizaton of performances, ogledao se u tome da su sudionice radionice, voditeljica, organizatorice, kao i prijateljice udruge i galerije formirale grupu od desetak žena i djevojaka koje su se zajedno kretale gradom i podržavale jedna drugu, posebno u procesu realizacije performansa, surađujući na kreativnom i organizacijskom nivou i participirajući u radovima drugih sudionica kada je to imalo smisla, kao i u davanju povratnog mišljenja u procesu diskusije nakon svakog od realiziranih performansa. Sudjelovanjem u ovom projektu sve smo postale i dijelom velike međunarodne zajednice te smo pozvane da se priključimo budućim međunarodnim aktivnostima i susretima Misplaced Community pefromance weekends, exhibitions and gatherings.

U konačnici, izabrana su mjesta od osobitog društvenog i povijesnog značaja od kojih je svaki odgovarao određenom performansu. Najprije, Peristil – kao mjesto moći, u performansu “O pokušajima silovanja” Tanje Ostojić u kojem su sudjelovale Mia Bradić i Alejandra Robles Sosa, poslužio je kao mjesto s kojeg žena koja progovara s „pozicije moći“ u doslovnom smislu, pritom otvarajući javni prostor za izražavanje traume i suočavanje s njom unutar njega.  

Drugačija konotacija Peristila proizašla je iz performansa Ines Borovac – okrenute leđima zvoniku svetog Duje, koji se u svom maskularnom  obliku nadvio nad krhko žensko tijelo, ogoljeno i izloženo buri i hladnoći.

Rivu kao mjesto izlaganja, poput modne piste, te mjesto vrednovanja (žene) iskoristila je u svom performansu Nicole Lissete Josseau, pozvavši da simbolično ostavimo sve ono što nam pripada kao dekor i konstruira naš vanjski identitet. Zanimljiva je ovdje korelacija i s komercijalnom galerijom ili sajmom, osim one s modnom pistom, gdje se, a u ovom slučaju humanoidni, eksponati izlažu, promatraju i vrednuju na temelju izloženog. 

Dva mjesta – autobusna stanica i trajektna luka, kao mjesta tranzicije, prelaska, kretanja, simboli su nomadskog života. Postala su to mjesta ekspresije onih koji su primorani putovati (Mia Bradić) i onih koji traže načine za ostanak (Alejandra Robles Sosa).

Jedini izmješten iz centra grada, performans Katarine Duplančić, održan na platou ispred Doma mladih, dotaknuo se tema prekarnog rada kulturnih djelatnika/ca i nemogućnosti odvajanja privatnog i profesionalnog.

Konačno, naš performans, “Misplaced Organization?” čin je borbe za prostor djelovanja. Bilo je to jedino poigravanje s partiturom za izvođenje performansa br. 2: držanje natpisa u okviru radionice, dok su se performansi Nicole, Alejandre i Mie odvili prema partituri za izvođenje performansa br. 1: raspakivanje osobne torbe. Partiture su poslužile kao orijentacija i okvir, a konačna forma performansa mogla se razviti unutar ili izvan njih.

Za participaciju od strane javnosti uglavnom su bili zaslužni turisti, što nas nije iznenadilo. Iz našeg iskustva, lokalno stanovništvo je uglavnom ili zatečeno ili oklijeva, ili potpuno (i najčešće, a što se obično događa nakon prvotne zatečenosti) ignorira. To je osobito došlo do izražaja u performansu Nicole. Ona je tako postala samo još jedan eksponat, gotovo instantno predmet promatranja, s ponešto oklijevajućim interesom, ali bez stvarnog pridruživanja izvedbenom činu ili pak propitkivanja o čemu se točno radi. Iznalaženje novih metoda za poticanje participacije pokazuje se kao nužnost; ipak, i najmanji pomaci po tom pitanju u vidu individualnih doprinosa vidimo kao značajan korak.

Širok raspon čitanja i interpretacija utječe na naše razumijevanje javnog prostora, ali i odnosa prema njemu. Moramo se konstantno podsjećati da to može biti prostor izražavanja i prostor slobode, ali da je još uvijek prostor u kojem se odnosi moći itekako manifestiraju. Stoga svako izmještanje iz njega treba zauvijek propitivati.

U fazi postprodukcije uz svaki performans realiziran je i video, a svaka od sudonica reflektirala je u tekstu o radu vlastite procese i motivaciju. Video performansi su objavljeni na “Misplaced Women?” Vimeo kanalu, a dvojezični tekstovi na “Misplaced Women?” blogu.

Performansi realizirani u okviru radionice “Misplaced Women?” u Splitu:

  1. “Misplaced Latina”, Alejandra Robles Sosa
  2. #NismoSamoUkras, Lissette Nicole Josseau
  3. “Routine” Mia Bradić
  4. “Feminizam oprašta”, Ines Borovac
  5. Self-exploitation” Katarina Duplančić
  6. “O pokušajima silovanja”, Tanja Ostojić
  7. “Misplaced Organization?”, Culture Hub Croatia

Intervju s Tanjom Ostojić, Dario Dunatov za vizukultura.hr 

Video-dokumentacija radionice, 9 minuta

Tekst javnog natječaja

Autorice teksta i prevoda: CHC

culturehubcroatia.hr

Routine by Mia Bradić

In Bus-stations, Performances, Split, Workshops on May 16, 2021 at 9:05 pm

Mia Bradić performed a very playful improvisation entitled: Routine, starting from the Score #1: Unpacking a Bag of Your Own on the bus stop next to Saint Francis Church in Split, on April 7, 2021, in the frame of Misplaced Women? Workshop led by Tanja Ostojić.

[Translation to Croatian is below]

Routine

Contribution by Mia Bradić

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

When I was preparing for the second day of the workshop, I packed with the intention of collecting things that I interacted with in the past few days. The idea for the performance to occur on the bus stop came naturally to me, because I spend a lot of my daily time waiting for, inside, or chasing buses due to the circular migration. 

The performance itself was over 15 minutes long improvisation. I was only certain of the objects packed in my backpack and that I wanted to use the circus discipline of contortion as a guide for my movement. As a young circus artist, I cannot get professional circus education in Croatia and will have to leave my country (but also friends and family, culture, language…) to pursue my dreams. However, I am already living through this kind of scenario on a micro level. The town of some 25 000 citizens where I live, Solin, prides itself of being the town with the most children per capita in Croatia, but at the same time, it has no content for young people, including the non-existence of a high school. That’s why I have to travel every day, spending hours in traffic, because my education, training and pretty much all activities are happening in Split. 

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

In fact, my everyday backpack looks similar to the one I used in the performance, overflowing with stuff. It was a nice experience to connect my daily routine to a bigger picture of packing and leaving my current life behind, which I will be experiencing in just a few months, and it felt healing to use this performance to express my disappointment with the lack of resources for young people in Croatia and the general under-appreciation of (circus) artists in our society, which both affect my reality and, among other things, my decision to leave. 

I was not surprised by the lack of interest from the people passing next to the bus stop, mostly because performances in public spaces are very rare in Split, and people are not used to this format and the role they could potentially play in it. I think for the participants and organisers of the workshop who were also the biggest audience for my performance, the most interesting interaction was the one of a probably homeless man stopping for a moment, almost as if I’m in his spot or as if he is trying to see if he knows me. At the end of the performance, the lady who got out of the bus on this stop advised me to get my picnic blanket of the floor, so it doesn’t get dirty, but she said it in a very caring way, which made me happy. 

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

I have also just now, three weeks later, while watching the video of my performance, noticed a really interesting link between advertisements placed in the bus stop, which are focused on commercially exploiting women’s desire to look good (often only in the ways that are considered socially acceptable), and me putting clothes on myself in unanticipated ways, as well as putting on mascara in those clothes.

I’ve previously participated in workshops that required the participants to perform in the public space, but this one felt different because of the focus being put on the misplacement of women, and the fact that I was performing in what is practically my hometown — in a space that is an important part of my everyday life. I was also very much inspired by all the performances from other participants and the dialogue we had about the position of women in our society and the role of misplacement has in shaping our identities. 

I was honoured to perform earlier that day alongside Alejandra while Tanja was talking about her own experiences in which she managed to escape rape and sexual assault. As a feminist and an ambassador of an organisation which focuses on eradicating violence against women and girls, I regularly hear stories like hers, often ending even worse for the survivor. Yet, before this performance, I haven’t explored it artistically. While performing, I was carefully listening to Tanja’s words, I tried to imagine myself in her place and I let the emotions caused by this lead my movement. The space where we performed was also very symbolic, because these kind of stories are, in most cases, distorted in the media and the survivor, if she chooses to step forward, often doesn’t have any control of the narrative. In this piece, I felt Tanja was having full control over her story and in that sense, it felt like the story wasn’t just hers, but of all women who experienced rape and sexual assault, and who could, through Tanja, claim their power back.

About the contributor:

My name is Mia Bradić and I’m an 18-year-old circus artist from Croatia. For the past 11 years, I have been learning aerial skills (hoop, silks and trapeze) in Cirkus Kolektiv (Split), where I now teach aerial silks to children and adults. Contortion is also a circus skill I have been practicing for the past three years in Room100 (Split). I’m very passionate about creating positive change in the world, even if it’s small-scale. That’s why I became a Fridays for Future member working on climate justice, WAVE (Women Against Violence Europe) Youth Ambassador, and I have created a project “Leave a mark”, which connects the topics of gender equality and art through workshops for young teenage girls. 

Text written in English and translated to Croatian by Mia Bradić

Edited and First Published by Tanja Ostojić on the Misplaced Women? Project Blog, May 2021.

Photos: Tanja Ostojić 

Video recording & editing: Andrea Resner

This performance has been developed and realised in the frame of Misplaced Women? Workshop led by Tanja Ostojić, in Split, April 6-8, 2021. 

Organised by Culture Hub Croatia in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

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Please see other posts from Split and this workshop:

Misplaced Latina? by Alejandra Robles Sosa

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

[HR PRIJEVOD]

Mia Bradić (miacircus)

7. 4. 2021., Split, autobusna stanica pokraj Crkve svetog Frane; trajanje: 15 minuta

Kad sam se pripremala za dan pred sobom, spakirala sam se s namjerom da skupljam stvari s kojima sam bila u doticaju proteklih dana. Ideja da se performans odvije na autobusnoj stanici došla mi je prirodno, jer mnogo svog svakodnevnog vremena provodim u čekanju, unutar ili u potjeri za autobusima. Sama izvedba bila je gotovo u potpunosti improvizirana, bila sam samo sigurna za predmete spakirane u ruksak i da želim koristiti cirkusku disciplinu kontorcionizma kao vodič u kretanju. Kao mlada cirkuska umjetnica, u Hrvatskoj ne mogu steći profesionalno cirkusko obrazovanje i morat ću napustiti svoju zemlju (ali i prijatelje i obitelj, kulturu, jezik…) kako bih ostvarila svoje snove. Međutim, već proživljavam sličan scenarij na mikro razini. Grad s oko 25 000 građana u kojem živim, Solin, ponosi se time što je grad s najviše djece po glavi stanovnika u Hrvatskoj, ali u isto vrijeme nema sadržaja za mlade, uključujući nepostojanje srednjih škola. Zbog toga moram putovati svaki dan, provodeći sate u prometu, jer se moje obrazovanje, osposobljavanje i gotovo sve aktivnosti događaju u Splitu. Zapravo, moj svakodnevni ruksak izgleda slično onom koji sam koristila u izvedbi, natrpan stvarima. Bilo je lijepo iskustvo povezati svoju svakodnevicu s većom slikom pakiranja i ostavljanja trenutnog života iza sebe, koji ću proživjeti za samo nekoliko mjeseci, i bilo mi je ljekovito koristiti ovu izvedbu kako bih izrazila svoje razočaranje nedostatkom resursa za mlade u Hrvatskoj i općenito podcijenjenost (cirkuskih) umjetnika u našem društvu, što utječe na moju stvarnost i, između ostalog, na moju odluku da odem.

Prije sam sudjelovala u radionicama koje su zahtijevale da sudionici nastupaju u javnom prostoru, ali tijekom ove sam se osjećala drugačije zbog fokusa koji je stavljen na Misplaced – zagubljene žene i činjenice da sam praktički nastupala u svom rodnom gradu – u prostoru koji je važan dio moje svakodnevice. Također, nadahnule su me  performansi drugih sudionica, kao i dijalog koji smo vodile, o položaju žena u našem društvu i ulozi te “misplaced” pozicije u oblikovanju našeg identiteta.

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

Bila mi je čast zajedno s Tanjom i Alejandrom biti dio performansa u kojem Tanja govori o svojim iskustvima u kojima je uspjela izbjeći silovanja i seksualno nasilje. Kao feministkinja i ambasadorica organizacije s ciljem zaustavljanja nasilja nad ženama i djevojčicama, redovno čujem priče kao što je njena, a mnoge od njih često završe još gore za žrtvu. Usprkos tome, do sada ovu temu nisam intenzivnije umjetnički istraživala. Tijekom izvedbe pozorno sam slušala Tanjine riječi, pokušala sam zamisliti sebe na njenom mjestu i voditi se pokretom emocija koje su se budile u meni. Mjesto performansa je također bilo vrlo simbolično jer ovakve priče, u većini slučajeva, budu iskrivljene u medijima i žrtva koja odluči istupiti često nema kontrolu nad svojom pričom. Osjećala sam da Tanja u ovoj izvedbi ima potpunu kontrolu nad svojom pričom I, na taj način, priča nije samo njena, već je priča svih žena koje su preživjele silovanje i seksualno nasilje i koje su kroz Tanju mogle preuzeti svoju moć natrag.

Routine by Mia Bradić, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

Zovem se Mia Bradić i 18godišnja sam cirkuska umjetnica iz Hrvatske. Posljednjih 11 godina učim zračne vještine (obruč, svila i trapez) u Cirkusu Kolektivu (Split), gdje sada podučavam ples na svili djeci i odraslima. Kontorcionizam je također cirkuska vještina kojom se bavim posljednje tri godine u Room100 (Split). Jako sam strastvena u stvaranju pozitivnih promjena u svijetu, čak i ako su male. Zbog toga sam postala članicom Fridays for Future-a koji radi na klimatskoj pravdi, ambasadorica sam mladih mreže WAVE (Women Against Violence Europe) i osmislila sam projekt „oSTAVi trag“ koji povezuje teme rodne ravnopravnosti i umjetnosti kroz radionice za mlade djevojke.

Misplaced Latina? by Alejandra Robles Sosa

In Performances, Port, Split, Stories on May 14, 2021 at 8:08 pm

Alejandra Robles Sosa performed over 15 minutes long Misplaced Latina? based on Score #1: Unpacking a Bag of Your Own, at the Split Ferry Port, on April 7, 2021, in the frame of Misplaced Women? Workshop led by Tanja Ostojić

[Translation to Croatian is below]

Misplaced Latina?

Contribution by Alejandra Robles Sosa

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

Who am I?

I am Alejandra Robles Sosa, with two last names, because I was born and raised in Mexico. My mother tongue is Spanish and I grew up at the periphery of a three million inhabitant city, Puebla City. I was backpacking across Latin America, South East Asia, and Europe for three years before I enrolled in 2018 at the Arts Academy in Split, Croatia, where I have been living ever since. My art practice is strongly influenced by critical theories and a decolonial approach. I explore the collective memory of the migration of the human race represented in art, textile patterns, food, and plants.

What were my expectations from the Misplaced Women? workshop?

I was interested in exploring the idea of how my “female” body as a brown Latina is read in different contexts while crossing borders. My body is not read in the same way in a South American country, in the USA or the Balkans. Every place has its expectations from me. Our bodies and our presence are also read according to the objects we carry with us while crossing borders. My body is read differently if I am alone with a hiking backpack or with a fancy suitcase. People perceive things differently when I am on a long trip with bags on my bicycle. Those objects influenced the way I feel, if I am vulnerable or not, that includes my body itself, my clothes, and the things in my bag.

The Misplaced Latina? performance

My emotions: I didn’t cry for a while. The pandemic situation brought to me, as too many people around the world, a desolation feeling. I have been constantly suppressing my feelings in order to stay mentally stable. While carefully choosing my objects, the day before the performance and at the beginning of it, I couldn’t stop crying. It is as if for the last four years I have packed my sorrow and tears in small containers. So, I brought those containers with me.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

My sorrow containers:

Food. I brought along food ingredients that came to Europe after the colonisation of the Americas and nowadays are part of the Croatian daily diet, like homemade tomato sauce, potato and banana. Those represent the sorrow of my colonised and de-indigenised ancestors.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

Religion. I included the Holy Rosary I bought for my grandmother on my first visit to Vatican. She died a year before I could give it to her. I am not a religious person, but I love my grandma and I know how important this used to be for her when she was alive. The Catholic Church also has a dark colonial past in the Americas.

Embroidery. Historically, embroidery hasn’t been taken seriously as a medium because it belongs to the sphere of women’s work. And women’s issues are usually related to unpractical data. I decided to embroider the existential themes that inhabited my mind for the last few weeks: Annual living cost for three different categories of people (that are considered physical persons) from third world countries required to obtain Croatian visa. Those are my personal options, since I have a remote job outside Croatia: 

  • Studentica / student: 53,368 HRK, 
  • Digital nomad: 217,718 HRK, 
  • Kao supruga / as a wife: 44,742 HRK. 

*Those are amounts needed to be present on ones bank account (at the moment of application) required by the Croatian immigration office. They refer to the sum of an average monthly rent, insurance, and in case of a student, fee per semester.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

Final reflections

Regarding my initial expectations, I ended up reflecting upon how our sorrow and tears are read when our body is seen as a female foreigner. What is a woman supposed to cry about? How do I express my feelings, and how people validate our feelings according to our gender, race, and social status? 

Each of the performances realised in the frame of Misplaced Women? workshop was full of those feelings and reflections that as women we experience in our day-to-day life. Sexual harassment, the church imposition of values over our bodies, the precariousness of artistic life, self-exploitation at work. Being seen as an accessory, and not being taken seriously when we argue against structural problems. Which feelings and in which way are allowed to be expressed in the public spaces? Tanja Ostojić has done silence braking performance in which Mia and I took part. She spoke in the public square of Peristil about attempts of sexual violence that she experienced in the past, about the subject that has been encapsulated into the private space, thus denying its social and structural nature. On her right side, Mia Bradić was appropriating every part of her own body with her contemporary dance improvisation, while my accompaniment included embroidering seemed more passive and therefore within the category of the feminine. Embroidering allowed me to listen, meditate and reflect.

As a foreign woman in a city where there is no Latino community, during a pandemic I have experienced a feeling of loneliness that I did not know before. Meeting with women from different backgrounds who responded to a feminist call was a hug to the heart. Thanks, everyone!

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Tanja Ostojić

Alejandra Robles Sosa (born 1988) is currently Split based artist and designer of Mexican origin. She graduated from the Arts Academy in Split. 

Text written by: Alejandra Robles Sosa

Edited and First Published by Tanja Ostojić on the Misplaced Women? Project Blog, May 2021.

Copy-editing: Cultural Hub Croatia (CHC) and Tanja Ostojić

Translation from English to Croatian: CHC

Photos: Tanja Ostojić and Neli Ružić

Video recording & editing: Andrea Resner

This performance has been developed and performed for the first time in the frame of Misplaced Women? Workshop led by Tanja Ostojić, in Split, April 6-8, 2021. 

Hosted and organised by CHC in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

———————————————————

Please see other posts from Split and this workshop:

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

Routine by Mia Bradić

Misplaced Women? Split Station

Routine by Mia Bradić

Self-exploitation by Katarina Duplančić

“On Rape Attempts” by Tanja Ostojić

“Misplaced Organization?” by Culture Hub Croatia

Please see as well videos of the performances published on the Mis(s)placed Women? video channel:

Embroidery by Alejandra Robles Sosa, Workshop Split, 2021. Photo: Alejandra Robles Sosa

HR PRIJEVOD 

Tko sam ja?

Ja sam Alejandra Robles Sosa. Imam dva prezimena jer sam rođena u Meksiku (1988.). Moj materinji jezik je španjolski i odrasla sam na periferiji grada s tri milijuna stanovnika.

Alejandra Robles Sosa (born 1988) is currently Split based artist and designer of Mexican origin. She graduated from the Arts Academy in Split. 

Tri godine sam putovala po Latinskoj Americi, jugoistočnoj Aziji i Europi, a 2018. godine sam upisala Umjetničku akademiju u Splitu u Hrvatskoj, gdje živim od tada.

Na moju umjetničku praksu snažno utječu kritičke teorije i dekolonijalni pristup. Istražujem kolektivno sjećanje migracija ljudske rase zastupljeno u umjetnosti, tekstilnim uzorcima, hrani i biljkama.

Što sam očekivala?

Zanimalo me istražiti ideju kako se moje “žensko” tijelo Latinoamerikanke tamnije puti čita u različitim kontekstima tijekom prelaska granica. Moje se tijelo ne čita na isti način u južnoameričkoj zemlji, u SAD-u ili na Balkanu. Svako mjesto ima svoja očekivanja od mene.

Naša tijela i naša prisutnost također se očitavaju u skladu sa stvarima koje nosimo dok prelazimo granice. Moje se tijelo drugačije čita ako sam sama s planinarskim ruksakom ili s otmjenim koferom. Ljudi različito percipiraju stvari kad sam na dugom putu s torbama na biciklu. Ti su “rekviziti” utjecali na to da se osjećam ranjivo ili ne, što uključuje i samo moje tijelo, ali i odjeću i stvari u torbi.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

Performans

Moje emocije:

Neko vrijeme nisam plakala. Situacija s pandemijom donijela mi je, kao i mnogim ljudima širom svijeta, osjećaj pustoši. Neprestano sam prisiljavala svoje osjećaje da budu posve stabilni. Dok sam birala rekvizite, dan prije nastupa (i na početku), nisam mogla prestati plakati. Kao da sam posljednje četiri godine pakirala tugu i suze u te malene posude. Pa sam te posude ponijela sa sobom.

Moji kontejneri za tugu

Hrana. Sa sobom sam ponijela hranu koja je u Europu došla nakon kolonizacije Amerike. I ona je danas dio hrvatske svakodnevne prehrane,oput domaćeg umaka od rajčice, krumpira i banane. To predstavlja tugu mojih koloniziranih i neo-indiginiziranih predaka.

Religija. Uključila sam i „svetu krunicu“ koju sam kupila svojoj baki prilikom prvog posjeta Vatikanu. Baka je preminula godinu dana prije negó sam joj uspjela dati krunicu. Nisam religiozna osoba. Ali volim svoju baku i znam koliko joj je ovo bilo važno. Katolička crkva također ima mračnu kolonijalnu prošlost u Amerikama.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

Vez. Povijesno gledano, vez nije shvaćen ozbiljno kao medij, jer se radi o ženskom djelu. A ženska su pitanja obično povezana s nepraktičnim podacima. Odlučila sam izvesti teme koje su mi okupirale um u posljednjih nekoliko tjedana: troškovi života na tri načina (od mnogih) za dobivanje vize u Hrvatskoj kao osoba iz treće zemlje.

Ovo su moje osobne mogućnosti, budući da obavljam posao na daljinu za poslodavce izvan Hrvatske:

– studentica: 53,368 HRK,

– digitalni nomad: 217,718 HRK,

– kao supruga: 44,742 HRK.

* To su potrebni iznosi na bankovnom računu (u trenutku prijave) koji zahtijeva Hrvatski imigracijski ured. Odnose se na zbroj prosječne mjesečne stanarine, osiguranja, a u slučaju studenta, školarine po semestru.

“Misplaced Latina?” by Alejandra Robles Sosa, Misplaced Women? Workshop Split, 2021. Photo: Neli Ružić

Završni osvrt 

Što se tiče mojih očekivanja, završila sam razmišljajući o tome kako se čitaju naše tuge i suze kada se na naše tijelo gleda kao na žensku strankinju. Zbog čega bi žena trebala plakati? Kako mogu izraziti svoje osjećaje i kako ljudi potvrđuju naše osjećaje prema našem spolu, rasi i socijalnom statusu?

Svaka izvedba bila je puna onih osjećaja i razmišljanja koja kao žene doživljavamo u svakodnevnom životu. Seksualno uznemiravanje, crkveno nametanje vrijednosti nad našim tijelima, nesigurnost umjetničkog života, samo-eksploatacija na poslu. Na nas se gleda kao na dodatak i ne shvaća ozbiljno kad propitujemo strukturne probleme. Koji se osjećaji i na koji način smiju izražavati u javnim prostorima?

Svaki od performansa realiziranih u okviru radionice Misplaced Women? bio je pun onih osjećaja i razmišljanja koje kao žene doživljavamo u svakodnevnom životu. Seksualno uznemiravanje, crkveno nametanje vlastitih vrijednosti našim tijelima, nesigurnost umjetničkog života, samoeksploatacija na poslu. Na nas se gleda kao na dodatke i ne shvaća nas se ozbiljno kad se pobunimo protiv strukturnih problema. Koji se osjećaji i na koji način smiju izražavati u javnom prostoru? Tanja Ostojić izvela je performans koji prekida tišinu, a u kojem smo sudjelovale i Mia i ja. Tanja je na Peristilu govorila o pokušajima seksualnog nasilja koje je doživjela u prošlosti, o temi koja je inkapsulirana u privatni prostor, negirajući tako njegovu društvenu i strukturnu prirodu. S Tanjine desne strane, Mia Bradić prisvajala je svaki dio vlastitog tijela svojom suvremenom plesnom improvizacijom, dok je moja pratnja s vezenjem djelovala pasivnije i, samim time, unutar kategorije ženskog. Vezenje mi je omogućilo da slušam, meditiram i razmišljam.

Kao strankinja u gradu u kojem ne postoji latino zajednica, tijekom pandemije doživjela sam osjećaj usamljenosti koji prije nisam poznavala. Sastanak sa ženama iz različitih sredina koje su se odazvale feminističkom pozivu bio je zagrljaj srca. Hvala svima.

Pogledajte i druge priloge iz ove radionice/ this workshop:

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

Routine by Mia Bradić

Misplaced Women? Split Station

Routine by Mia Bradić

“On Rape Attempts” by Tanja Ostojić

“Misplaced Organization?” by Culture Hub Croatia

Self-exploitation by Katarina Duplančić

Mis(s)placed Women? video channel:

Feminism Forgives

In Performances, Split on May 5, 2021 at 11:01 pm

Ines Borovac developed and performed for the first time Feminism Forgives in front of the Saint Domnius Cathedral in Split on April 7, 2021, in the frame of Misplaced Women? workshop led by Tanja Ostojić, inviting the audience to embody sexually liberated Mary Magdalene, the role of institutionally stigmatised woman and the unexplored powers she carries…

Feminism Forgives

Contribution by Ines Borovac 

During my adolescence age, I have been faithfully attending the Sunday mass as considering myself Christian. Unfortunately, my approach towards Church was superficial at a time. Looking at it now, it is clear I was motivated by the lack of religious diversity in my social and family circle. I didn’t pay much attention to what the priest was saying nor applying or understanding the ideology of the Christian community as much. Nonetheless, my physical presence was soaking up the Christian ideologies, more then I wanted and could control. The influence was undeniably present inside of my body. Entering the sexual awakening as a teenager, I was a little bit disappointed. The intensity of the sexual desire was not as expected, on the contrary, it was barely present. Whereas, when the desire would appear, it would come in bursts and would make me feel uncomfortable, dirty and guilty for feeling the pleasure I was allowed to feel.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić
Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Croatia is still a religiously homogenous country where more than 90 percent of the population is identifying as Christian, not leaving the young generations much space to explore and own their body and identity. Thus, the performative piece is inviting the audience to identify with the character of sexually liberated Mary Magdalene. With the symbolic gesture of washing the feet (just like Mary Magdalene did to Jesus when she was asking for redemption for her sins), performative act is inviting the audience to embody the role of institutionally stigmatized woman and the unexplored power she carries. Contrary to the Biblical story, the audience was not washing the feet of the forgiver’s body (Jesus) but mine, feminist body with the red letters written on my chest saying “feminism forgives”. Wearing nothing but a skirt and bra, I set exposing my feminine vulnerability radiating the motherly strength of understanding and care. Therefore, instead of begging for forgiveness, with the gesture of washing the feet of the misplaced feminist body, I took a role of the medium through which one is encouraged for the “sins”, opposite to the atonement and change.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

The performative act took place in front of one of the oldest churches in the region, the Cathedral of Saint Domnius (Katedrala Svetog Duje) on April 7, 2021. The performance lasted 30-40 minutes, influenced by the weather conditions, cold wind, low temperatures and very cold stone ground, my wet feet were lying on. I could not help but notice that the people leaving or entering the Cathedral were ignoring the performance, acting like it wasn’t happening (avoiding the eye contact and bypassing), – which could be seen as denying such realities and rejecting liberated female bodies from the Christian community, labelling them as marginalised bodies. Parents were turning away their curious children looks or even changing the walking route not to confront the performance. Ironically, while I was taking off my clothes, the male passers stopped to observe and show interest, showing us the transparency of the patriarchal culture in Croatia. Apart from female participants of the workshop, there were other brave woman who challenged their inner Mary Magdalene and participated in activation the performance. At this point the performance expanded from the workshop circle towards the interaction with other bodies, making me endlessly happy.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Video: Andrea Resner

On this occasion, I would like to thank all the women who’ve embraced Mary Magdalene during the performance (Kristina Tešija, Lissette Nicole Josseau, Alejandra Robles Sosa, Jasmina Šarić, a group of South-American tourist girls, Tanja Ostojić, Mia Bradić, Neli Ružić…) and the ones who are still carrying and searching for her inside themselves. Thank you Tanja Ostojić for holding the workshop and all the other beautiful participants I met; Culture Hub Croatia girls for organisation and confronting the Split with such topics; Andrea Resner for commitment and creation of the digital archive.

Ines Borovac (b.1996) is a student at Design Academy Eindhoven (NL) where she is enrolled on the Masters program of Social Design. In her design work, she is often working with performance and body as the locus for social change and critique. Ines is currently working on her thesis project where she is researching the topic of patriarchy in Croatia, performativity of the patriarchal values and Croatian traditional dance. She holds a bachelor degree from the School of Design, Zagreb

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Text written by: Ines Borovac

Edited and first published by Tanja Ostojić on the Misplaced Women? Project Blog, May 4, 2021

Translation from English to Croatian (see below): Ines Borovac

Copy editing: Cultural Hub Croatia (CHC)

This performance has been developed and performed for the first time in the frame of Misplaced Women? workshop led by Tanja Ostojić, in Split, April 6-8, 2021. 

Performed by: Ines Borovac

Performance assistance: Alejandra Robles Sosa

Photos: Tanja Ostojić and Neli Ružić

Video recording & editing: Andrea Resner

Hosted and organised by CHC in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

Instagram: @lochnesi

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Croatian/ HR PRIJEVOD 

Lokacija: Katedrala Svetog Duje

Feminizam oprašta

Tijekom adolescentske dobi vjerno sam prisustvovala nedjeljnim misama. Smatrala sam se  kršćankom, ali, nažalost, moj pristup prema Crkvi bio je površan. Gledajući to sada, jasno je da me je motivirao nedostatak vjerske raznolikosti u mom društvenom i obiteljskom krugu. Nisam obraćala mnogo pažnje na to što svećenik govori, niti primjenjivala ili razumijevala ideologiju kršćanske zajednice. Unatoč tomu, moja fizička prisutnost upijala je kršćanske ideologije više nego što sam htjela i mogla kontrolirati. Utjecaj je nedvojbeno bio prisutan unutar moga tijela. Doživjevši seksualno buđenje kao tinejdžerica, bila sam pomalo razočarana. Intenzitet seksualne želje nije bio onakav kakav sam očekivala, već naprotiv, bio je jedva prisutan. Kada bi želje došla u valovima, osjećala bih se nelagodno, prljavo i krivo zbog osjećaja užitka koji mi je bio dozvoljen. 

Hrvatska je još uvijek vjerski homogena zemlja u kojoj se više od 90 posto stanovništva identificira pripadnicima kršćanske religije, a to mladim generacijama ne ostavlja puno prostora za istraživanje i posjedovanje vlastitih tijela i identiteta. Dakle, ovaj performans poziva publiku da se identificira s likom seksualno oslobođene Marije Magdalene. Simboličnom gestom pranja nogu (baš kao što je to učinila Marija Magdalena Isusu kad je tražila iskupljenje za svoje grijehe), performativni čin poziva publiku da utjelovi ulogu institucionalno žigosane žene i neistražene moći koju ona nosi. Suprotno biblijskoj priči, publika nije prala stopala tijela onomu koji oprašta (Isusu), već feminističkom tijelu (autorici) kojem je na grudima napisano “feminizam oprašta”. Noseći samo suknju i grudnjak, otkrila sam svoju žensku ranjivost zračeći majčinskom snagom razumijevanja i brige. Stoga, umjesto da moli za oprost, gestom pranja nogu mog “misplaced” feminističkog tijela, sam utjelovila medij kroz kojeg se potiče na “grijehe”, suprotno pokajanju i promjeni.

Performans se odvio ispred jedne od najstarijih splitskih katedrala, Katedrale svetog Duje, 7. travnja 2021. Trajao je 30-40 minuta zbog vremenskih neprilika poput hladnog vjetra, niskih temperatura i iznimno hladnog kamena na kojem su stajala moja mokra stopala. Nisam mogla ne primjetiti da su ljudi koji su ulazili ili izlazili iz katedrale ignorirali perfromans ponašajuci se kao da se ne odvija (izbjegavanje kontakta očima i zaobilaženje mog tijela) što može ukazati na njihovo nijekanje sličnih stvarnosti i odbacivanje oslobođenih ženskih tijela od strane krščanske zajednice označavajući ih kao maginalizirana tijela. Roditelji sa djecom su sklanjala znatiželjne poglede svoje djece ili čak promijenili rutu svog kretanja da izbjegnu prostor performansa. Ironično, dok sam skidala odjeću, muški prolaznici bi se zaustavilis ciljem da promatraju te su pokazali zainteresiranost ukazujući na transparentnost patrijahalne kulture u Hrvatskoj. Nakon što sam se smjestila na stolac i pozvala publiku na sudjelovanje, osim sudionica radionice u performansu su sudjelovale ostale hrabre žene i izazvale unutarnju Mariju Magdalenu. U ovom trenutku perfomans je izišao iz kruga radionice u interakciju s ostalim tijelima što me je učinilo neimjerno sretnom. 

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Ovom prilikom želim zahvaliti svim ženama koje su prigrlile Mariju Magdalenu tijekom nastupa i onima koje je još uvijek nose i traže u sebi. Hvala Tanji Ostojić na održavanju radionice i svim ostalim lijepim sudionicima koje sam upoznala; curama iz Culture Hub Croatia za organizaciju i suočavanje Splita sa sličnim temama; Andrei Resner za angažman i stvaranje digitalne arhive.

Ines Borovac (1996) studentica je Akademije za dizajn u Eindhovenu (NL) gdje je upisana na Masters program Socijalnog Dizajna. U svom dizajnerskom radu često radi s performansom i tijelom kao mjestom društvenih promjena i kritike. Ines trenutno radi na svom diplomskom radu u kojem istražuje temu patrijarhata u Hrvatskoj te performativnosti patrijarhalnih vrijednosti unutar hrvatskog tradicionalnog plesa. Preddiplomski studij završila je na Studiju dizajna u Zagrebu, smjer Produkt dizajn.

Misplaced Women? Misplaced Organization?

In Signs, Split, Workshops on May 3, 2021 at 5:08 pm

On April 7, 2021, Culture Hub Croatia realised two actions following the Score #2: Holding the Misplaced Women? Sign, in the frame of Misplaced Women? workshop led by Tanja Ostojić in Split. The actions took place in front of two spaces that have been empty for years and that would be a great working space for this homeless cultural organisation

Culture Hub Croatia: Misplaced Women? Misplaced Organisation?, Split, Voids2021, Photo: Andrea Resner

Misplaced Women? Misplaced Organization?

Contribution by Culture Hub Croatia

As an organisation working without the physical space since its establishment, four years ago, we have managed to use this situation to our advantage, focusing on the importance of community building and partnerships. Nevertheless, since we are actively searching for the space in the last year and we’ve become even more aware of the spaces in the city of Split that have been abandoned for years. Still, those spaces are not available for the creative sector, individuals, collectives or organisations working in the fields of art and culture, since they are rather expensive or it’s impossible to find more information about the owners and the legal situation behind.

Culture Hub Croatia: Misplaced Women? Misplaced Organisation?, Split, Voids2021, Photo: Andrea Resner

For our performative actions during the “Misplaced Women?” workshop, we’ve decided to tackle our situation, to visit two of those spaces: one at the crossing of Natka Nodila & Kralja Tomislava streets, and the other in Kneza Višeslava street, and to mark them in a way, positioning our bodies in front of them, holding the signs: “MisplacedWomen?” and “Misplaced Organisation?”.

The City of Split has announced an open call for anonymous bids for the lease of business premises owned by the city, with a deadline on April 7. Symbolically, on that day, as an all-women organisation, without permanent working space; and cultural workers in precarious situation, we decided to intervene using performance score #2: holding the extended form of “Misplaced Women?” Sign. Including all the participants of the workshop, we positioned ourselves with signs Misplaced Women, Misplaced Organisation?, and by exchanging them and moving our bodies, questioned our position, our role as women and our structure. What is a hub without a hub?

Culture Hub Croatia: Misplaced Women? Misplaced Organisation?, Split, Voids2021, Photo: Andrea Resner

This performative act is static, reluctant to the movement, has had enough of nomadism.

One of the spaces that we’ve marked in our performance (the crossing of Natka Nodila and Kralja Tomislava streets) is in a very frequent location with lots of people passing by daily. It has been abandoned for years, and it is rather hard to find any information about it. Its physical visibility is in complete contrast with the invisibility of the processes behind it. The other space is an abandoned dry cleaning facility, and it is also located near the old city center, but far less visible to the public. This space, in Kneza Višeslava street, was one of those listed in the public call, and we’ve decided to bid on it.

Culture Hub Croatia: Misplaced Women? Misplaced Organisation?, Split, Voids2021, Photo: Andrea Resner

Culture Hub Croatia (CHC) is using education, culture and creativity for development of local communities through transmission of knowledge and European expertise and through promotion of art practices, cultural heritage and informal education. Our long-term mission is to create a physical space for common dialogue and exchange of ideas among motivated, creative individuals who want to make a difference by implementing interdisciplinary projects for the benefit of a community as a whole. CHC was established in 2017 by Marina Batinić, Jasmina Šarić and Kristina Tešija and our work, since the very beginning, is based on collaborations, experimentations and explorations of innovative approaches.

Text written by: CHC

Edited by: Tanja Ostojić

First Published by: Tanja Ostojić on the Misplaced Women? Project Blog, April 2021.
Copy editing and translation: CHC

These actions have been developed and performed for the first time in the frame of Misplaced Women? workshop led by Tanja Ostojić, in Split, April 6-8, 2021. 

Performed by: Kristina Tešija, Jasmina Šarić, Ines Borovac, Hana Kohout, Mia Bradić Alejandra Robles Sosa, Lissette Nicole Josseau and Tanja Ostojić 

Photos: Andrea Resner

Hosted and organised by CHC in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

@culturehubcroatia

HR PRIJEVOD 

Platforma “Culture Hub Croatia” je 7. travnja 2021. godine u Splitu realizirala dvije akcije držeći znak “Misplaced Women?”, u okviru radionice “Misplaced Women?” pod vodstvom Tanje Ostojić. Akcije su se odvile na križanju Ulice Natka Nodila i Ulice kralja Tomislava te u Ulici kneza Višeslava

Kao organizacija koja u posljednje četiri godine (od samog početka) radi bez fizičkog prostora, uspjeli smo iskoristiti ovu situaciju u svoju korist, usredotočujući se na važnost izgradnje zajednice i partnerstva. Ipak, aktivno tragamo za prostorom u posljednjih godinu dana i postali smo dodatno svjesni prostora u gradu Splitu koji su godinama napušteni. Ipak, ti ​​prostori nisu dostupni kreativnom sektoru, pojedincima, kolektivima ili organizacijama koje rade na polju umjetnosti i kulture, jer su prilično skupi ili je nemoguće pronaći više informacija o vlasnicima i pravnoj situaciji koja stoji iza prostora.

Za naš nastup tijekom radionice “Misplaced Women?”, odlučili smo prodrijeti u ovu našu problematiku, posjetiti dva od tih prostora i obilježiti ih na neki način, postavljajući svoja tijela ispred prostora, držeći znak „Misplaced Organisation?“.

Grad Split objavio je javni poziv za anonimne ponude za zakup poslovnih prostora u vlasništvu grada, s rokom do 7. travnja. Simbolično, toga dana, kao ženska organizacija, bez stalnog radnog prostora; i kao kulturne djelatnice u neizvjesnoj situaciji, odlučile smo tiho izraziti svoj glas igrajući se i intervenirajući u „Misplaced Women?” znak. Uključujući sve sudionike radionice, pozicionirali smo se s natpisima “Misplaced Women?” i “MisplacedOrganisation? te smo, razmjenjujući ih i premještajući svoja tijela, propitivale naš položaj, našu ulogu žena i našu strukturu.

Što je hub bez hub-a?

Ovaj performativni čin je statičan, nevoljan kretnje, dosta mu je nomadstva.

Jedan od prostora koji smo obilježili u izvedbi (onaj na križanju Ulice Natka Nodila i Ulice kralja Tomislava) nalazi se na vrlo prometnoj lokaciji, kojom svakodnevno prolazi mnogo ljudi. Godinama je napušten i prilično je teško bilo pronaći bilo kakve podatke o njemu. Njegova fizička vidljivost u potpunoj je suprotnosti s nevidljivošću procesa koji stoje iza njega. Drugi prostor je napušteni objekt za kemijsko čišćenje, a također se nalazi u blizini stare gradske jezgre, ali daleko manje vidljiv za javnost. Ovaj je prostor bio jedan od onih navedenih u javnom pozivu i odlučili smo se nadmetati za njega.

#NismoSamoUkras by Lissette Nicole Josseau, Riva, Split

In Split, Workshops on April 30, 2021 at 6:16 pm

Lissette Nicole Josseau performed #NismoSamoUkras/#WeAreNotJustDecoration performance intervention on the Riva in Split, on April 7, 2021 in the frame of Misplaced Women? Workshop led by Tanja Ostojić

Lissette Nicole Josseau: #NismoSamoUkras/#WeAreNotJustDecoration, Riva, Split, 2001.  Misplaced Women? workshop by Tanja Ostojić, Photo: Tanja Ostojić

#NismoSamoUkras

Contribution by Lissette Nicole Josseau

My name is Nicole and my performance was on the Riva in Split, during the morning hours, when a lot of people are drinking coffee, sunbathing and taking a walk. I realised this performance in Tanja’s workshop Misplaced Women? and the other participants of the workshop took part in it, including: Kristina Tešija, Jasmina Šarić, Ines Borovac, Alejandra Robles Sosa, Neli Ružić, Tanja Ostojić…

I wanted to stop on the Riva and take off everything from me that I bought as an “accessory” in terms of all stuff that was not me, except the clothes I wasn’t ready to take off. I’ve put a piece of cloth on the floor and threw my bag, lipstick, glasses, a book, earrings, mascara, a ring and then the other women and girls gave up some of their things as well. 

Those days I was withdrawn, quiet, and maybe that’s why the idea of ​​”accessories”, “decoration” came to me very spontaneously. It was good that I got dressed without thinking that morning, just to have something on and go to the workshop, so I felt the most comfortable, which was great, because the essence of my performance was that very often women are considered as some kind of a decoration, throwing goods, jewelry, make-up, shoes, scarves, “titles” at us, which we didn’t even ask for; and all that to decorate a place next to a man. So, that was the topic of my fight on the Riva. I wanted to talk to people passing by, but they very skillfully ignored me, as if I wasn’t there, as if they didn’t care. I even met two of my friends, but they didn’t even ask what I was doing there. 

I wanted to ask people what they thought about it, was imagining myself asking elderly couples if the man knew his wife’s dreams, or what they wanted to be when they were little, or what they like to do the most, but unfortunately no one came to talk to me, except my workshop colleagues with whom I had a nice exchange.

Lissette Nicole Josseau: #NismoSamoUkras/#WeAreNotJustDecoration, Riva, Split, 2001.  Misplaced Women? workshop by Tanja Ostojić, Photo: Andrea Resner

I was standing on the Riva, the biggest catwalk in the whole Balkans for aproximately 20 minutes and no one even looked at me, as I was not overdressed as expected there. I even added #nismosamoukras (#WeAreNotJustDecoration) which I will probably continue using, and everyone who feels that way, please accept my invitation to continue and expand on it.

Lissette Nicole Josseau (b.1983) is an interior designer born in Chile, who currently lives and works in Split. In her own words: In myself I hold some kind of a mixture of blood, love everything that is different and has a positive impact on people’s lives. I’m decorating interiors, love colours and textures. I feel very good in the forest. I love people, but I also enjoy moments for myself. I come from a distant Patagonia having Croatian and Swiss roots. From a very early age I became interested in improving living spaces, first as a self-thought and later exploring and improving skills on the studies of Interirior Design in Spain

Lissette Nicole Josseau: #NismoSamoUkras/#WeAreNotJustDecoration, Riva, Split, 2001. Misplaced Women? workshop by Tanja Ostojić, Photo: Neli Ružić

Text written by: Lissette Nicole Josseau

Edited and first published by: Tanja Ostojić on the Misplaced Women? Project Blog, April 2021.

Proofreading and translation from Croatian: Culture Hub Croatia /T. Ostojić

Photos: Tanja Ostojić, Neli Ružić, Andrea Resner

Video recording & editing: Andrea Resner

This performance has been developed & performed for the first time in the frame of Misplaced Women? Workshop led by Tanja Ostojić, in Split, Croatia, April 6-8, 2021. 

Hosted and organised by Culture Hub Croatia in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

Lissette Nicole Josseau: #NismoSamoUkras/#WeAreNotJustDecoration, Riva, Split, 2001.  Misplaced Women? workshop by Tanja Ostojić. Photo: Tanja Ostojić

Original text in Croatian / Originalni tekst na hrvatskom

Moje ime je Nicole i moj performans održao se na rivi u Splitu, u prijepodnevnim satima, kada dosta ljudi pijucka kavu, sunča se i šeta. Napravila sam ovaj performans u sklopu Tanjine radionice Misplaced Women? i u njemu su sudjelovale ostale sudionice radionice među kojima su bile i: Kristinu Tešlija, Jasmina Šarić, Ines Borovac, Alejandra Robles Sosa, Neli Ružić, Tanja Ostojić…

Odlučila sam stajati na rivi i skidati sa sebe sve što sam kupila kao „dodatak“, tj. sve ono što nisam ja, osim odjeće koju nisam bila spremna skinuti. Stavila sam komad tkanine na pod i bacila na njega torbu, ruž, naočale, knjigu, naušnice, maskaru, prsten… A zatim su i ostale cure isto tako ostavile svoje stvari. 

Tih dana sam bila povučena, tiha, i možda mi je upravo zato vrlo spontano došla ideja o „dodacima“, „ukrasima“. Još je bilo dobro što sam se upravo tog dana odjenula bez razmišljanja, “čisto da imam nešto na sebi”, i krenula na radionicu, tako da sam izgledala i osjećala se komotno, što je bilo super jer bit mog performansa je da ukaže kako se vrlo često žene smatraju nekakvim ukrasa, na njih se “baca” odjeća, nakit, šminka, cipele, marame, „titule“, koje nismo ni tražile, a sve to s ciljem da ukrasimo mjesto pokraj jednog muškarca, i protiv toga je bila moja borba na rivi. Htjela sam komunicirati s ljudima, ali vrlo vješto su me ignorirali, kao da nisam tu, kao da se njih to ne tiče. Čak sam srela dvoje poznatih ljudi, ali nisu ni pitali što to radim tu. Zamišljala sam da pitam ljude što misle o tome, zaustaviti stare parove i pitati muškarce znaju li snove svoje žene, ili što su htjele biti kada su bile male, ili što najviše vole raditi, ali, nažalost, nitko nije došao pričati sa mnom, jedino moje kolegice iz radionice.

Stajala sam na rivi, najvećoj modnoj pisti na cijelom Balkanu, oko 20 minuta a nitko me nije ni pogledao jer se nisam namjestila po njihovim standardima. Još sam dodala #nismosamoukras koji ću vjerojatno i nastaviti koristiti, a pozivam sve koji se budu tako osjećali, da i oni koriste ovaj tag. Dajem dopuštenje da se ideja širi dalje. 

O autorici:

Lissette Nicole Josseau (r. 1983) je dizajnerica interijera rodom iz Čilea koja živi i radi u Splitu. Kako sama kaže: “U sebi držim neku mješavinu krvi, volim sve što je drugačije i što ima dobar utjecaj na ljudske živote. Radim dekoraciju interijera, volim boje i teksture. Osjećam se jako dobro u šumi. Volim ljude, ali obožavam svoje solo trenutke. Dolazim iz daleke Patagonije s hrvatskim i švicarskim korijenima, od malena sam se interesirala za poboljšanje životnih prostora, iz prve samouko, a zatim proučavajući i usavršavajući na studiju Homestaging u Španjolskoj.”

Tekst napisala: Lissette Nicole Josseau

Tekst uredila: Tanja Ostojić

Tekst je prvi put objavila Tanja Ostojić na blogu Misplaced Women?, u travnju 2021. godine

Lektura i prijevod na engleski: CHC i T. Ostojić

Fotografije: Tanja Ostojić i Neli Ružić

Snimanje i obrada videa: Andrea Resner

Ovaj je performans prvi puta razvijen i izveden u okviru radionice Misplaced Women? koju je vodila Tanja Ostojić, u Split, 6. – 8. travnja 2021. 

Organizatori: CHC, u okviru projekta Praznine2021 

Produkcija: Projekt Misplaced Women?, započeo 2009. godine

Open Call for participants in the “Misplaced Women?” performance workshop in the public space with Tanja Ostojić in Split, April 6-8, 2021, with the public presentation, hosted by Culture Hub Croatia

In News, Split, Workshops on March 11, 2021 at 9:18 pm

This is the Open Call for participants in the Misplaced Women? 3-day-long performance art workshop in the public space with Tanja Ostojić, April 6-8, 2021, with a public presentation in the Amphitheater, Dom Mladih, Split, hosted by Culture Hub Croatia.

Participants of all backgrounds, ages, genders and levels of experience that can commit to participate for the entire duration of the workshop are welcome, but we particularly encourage those who are interested in issues of migration, performance art, conditions related to the ones identifying as women, representations of gender and art in the public realm. Participants are invited and encouraged to share and exchange about experiences and issues of migration, marginalization, displacement, exposure and privilege and to enact some of the Misplaced Women? performance scores… The workshop is free of charge, warm drinks and snacks will be provided, professional photo documentation of participants’ work will be provided as well, and due to limited numbers of places we ask you kindly to apply. Workshop will be held in Serbo-Croatian language; in case it’s needed, we can integrate most of other languages, let us know in your application in case you have any special needs so that we provide translation for blind people, into sign language, etc.

The deadline for applications is Wednesday, March 24, 2021.

Timetable:

Workshop: Tuesday, April 6:  3:00 pm—4:30 pm,
Wednesday,  April 7: 11am-5pm and

Talk about the workshop results & public presentation: Thursday, April 8: 11–12:30pm

Open call in Croatian / Poziv za učešće na Hrvatskom

During the workshop and the presentation all hygienic measures against the spread of  Coronavirus will be respected. Participants will all have an opportunity to perform in the public spaces, and outcomes will be presented to the public on  the third day of the workshop at the Amphitheater, Dom Mladih, Ulica slobode 28, and included on the Misplaced Women? project blog.

This project, including the workshop and group and individual performances in the public spaces, have been chosen for realisation in the frame of the Voids2021 project, organized by Platform Culture Hub Croatiasupported by the Allianz Kulturstiftung, “Kultura nova” Foundation and the Ministry of Culture and Media of the Republic of Croatia.

Please read about the project and find out more about the workshop and application relevant details below:

“Misplaced Women?” performance by Tanja Ostojić on the La Grand Escalier de la Gare du Saint Charles a Marseille, 2013. With the participation of: Jane Kay Park, Emma-Edvige Ungaro, Alix Denambride, Kim Mc Cafferty, Robyn Hambrook, Helen Averley, Patricia Verity and Tanja Ostojić, Préavis de Désordre Urbain, Marseille

About the project:  

Misplaced Women? is an art project by Tanja Ostojić that consists of performances, performance series, workshops and delegated performances, ongoing since 2009, including contributions by international artists and people from divers backgrounds. Within this project we embody and enact some of everyday life’s activities that thematise displacement, as it is known to transients, migrants, war and disaster refugees, as well as gender queer, homeless… and to the itinerant artists travelling the world to earn their living. Those performances deal with continuing themes of migration, and relations of power and vulnerability with regard to the mobile and in particular the female body, an aspect that figured prominently in numerous previous works of Ostojić.

About the workshop leader: 

Tanja Ostojić (*1972) is a renowned Berlin and Belgrade based, Yugoslavian born performance and interdisciplinary artist whose artworks engage with feminism and migration politics. She includes herself as a character in performances and uses diverse media in her artistic researches, thereby examining social configurations and relations of power. She works predominantly from the migrant woman’s perspective, from within specific social contexts. The approaches of her work are defined by political positioning and the integration of recipients. Since 1994 she presented her work in numerous exhibitions, festivals and venues around the globe. She has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.

About the workshop:

The “Misplaced Women?” project involves the unpacking of a suitcase, a plastic bag, a handbag or a similar object in a public sphere, whereby these objects come to stand for a displacement, as a theme that is common in everyday experiences of transients, migrants, homeless, war and disaster refugees. The workshop aims to familiarise the participants with the topics and to stimulate discussion and interventions in the variety of public spaces.

The first part of the workshop includes getting together, informing and communicating, whereby the participants shall exchange with each other about individual experiences and the aims of the project.

During the second part, the participants are encouraged and supported to enact live performances and interventions in the streets, parks and beaches of Split. Public performances will be documented by a professional photographer.

The outcomes of the workshop will be presented to the public on the third day in the Amphitheater, Dom mladih. All participants of the workshop are invited to take active part in this presentation and the following discussion.

The documentation, notes and reflections from the workshop will be gathered and edited by Culture Hub Croatia, and published on the Misplaced Women? project website. 

Dates of the workshop: Tuesday, Wednesday and Thursday: April 6-8, 2021

The deadline for applications is Wednesday, March 24, 2021.

Who can apply: 

Artists, students and participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop are welcome. No particular language skills are required. We welcome people with any kind of “disabilities” and the ones who do not speak English or Croatian. Please specify any special requirements in your application.

The event is free of charge, but due to limited numbers we ask interested people to apply. Please send an email to  info@culturehubcroatia.hr with the subject Misplaced Women? Split and write one short motivational and biographical paragraph. You are welcome to add a link to your personal home page if you have one and your contact information.

Additional links:

Misplaced Women? Video Channel on Vimeo

Misplaced Women? project blog

Tanja Ostojić, books

Culture Hub Croatia

Voids2021 project 

Contact person: Jasmina Šarić, Tel. +385 98 9363264

info@culturehubcroatia.hr

_____________________________________Poziv za učešće na Hrvatskom____________________________________

Otvoreni poziv za sudionice/ke na radionici performansa u javnom prostoru “Misplaced Women?” pod vodstvom Tanje Ostojić, u Splitu, od 6.-8. travnja 2021., uz prezentaciju u

Amfiteatru Doma mladih, u organizaciji Platforme Culture Hub Croatia

Ovo je otvoreni poziv za sudionice/ke na trodnevnoj umjetničkoj radionici performansa u javnom prostoru pod nazivom “Misplaced Women?” koju vodi Tanja Ostojić. Radionica će se održati od 6. do 8. travnja 2021., uz javnu prezentaciju u Amfiteatru Doma mladih, Ulica slobode 28, Split, Hrvatska, u organizaciji platforme Culture Hub Croatia.

Dobrodošle/i su sve/i sudionice/ci koje/i se mogu obvezati na sudjelovanje tijekom cijelog trajanja radionice, bez obzira na profil, dobnu skupinu, rod i razinu iskustva, ali posebno potičemo one koji su zainteresirani za pitanja migracija, izvedbenih umjetnosti, uvjeta povezanih sa svim osobama koji se identificiraju kao žene te predstavljanja roda i umjetnosti u javnoj sferi. Sudionice/ci su pozvane/i i ohrabrene/i da podijele i razmijene iskustva i probleme o temama kao što su migracije, raseljenja, izloženosti i privilegija te da pridonesu performansu “Misplaced Women?”. Radionica je besplatna, osigurat će se topli napitci i zakuska, kao i profesionalna foto dokumentacija rada sudionica/ka, a zbog ograničenog broja mjesta za sudjelovanje je potrebna prijava. Radionica će se održati na srpskohrvatskom jeziku; u slučaju da je potrebno, možemo uključiti i druge jezike. Molimo da napomenete u svojoj prijavi u slučaju da imate bilo kakvih posebnih potreba (primjerice, ukoliko je potrebno omogućiti prijevod gluhim i gluhoslijepim osobama na znakovni jezik itd.).

Rok za prijavu je srijeda, 24. ožujka, 2021. 

Raspored:

Radionica: utorak, 6. travnja:  15:00—16:30h i srijeda, 7. travnja: 11-17h, i

Razgovor o rezultatima radionice & javna prezentacija: četvrtak, 8. travnja: 11–12:30h

Tijekom radionice i prezentacije poštivat će se sve aktualne mjere za suzbijanje širenja koronavirusa. Sve/i sudionice/ci imat će priliku nastupiti u javnim prostorima, a ishodi će biti predstavljeni javnosti trećeg dana radionice u Amfiteatru Doma mladih te uključeni u blog projekta “Misplaced Women?.

Ovaj projekt, uključujući radionicu, grupne i pojedinačne izvedbe u javnim prostorima, odabran je za realizaciju u okviru programa Praznine2021 u organizaciji Platforme Culture Hub Croatia, a podržan je od strane Allianz Kulturstiftung, Zaklade “Kultura nova” i Ministarstva kulture i medija Republike Hrvatske.

Saznajte više o projektu te pronađite sve pojedinosti o radionici i prijavi u nastavku:

O projektu:  

“Misplaced Women?”je umjetnički projekt Tanje Ostojić koji se sastoji od performansa, serija performansa, radionica i delegiranih performansa, a koji traje od 2009. godine, uključujući doprinose međunarodnih umjetnica i ljudi različitih profila. Unutar ovog projekta utjelovljujemo i izvodimo neke od svakodnevnih životnih aktivnosti koje tematiziraju raseljavanje, kao temu koja je poznata osobama s privremenim boravištem, migrantima, izbjeglicama iz područja pogođenima ratovima i prirodnim katastrofama, kao i queer osobama, beskućnicima… i umjetnicima nomadima koji putuju svijetom kako bi zaradili za život. Performansi se bave kontinuiranim temama migracija i odnosima moći i ranjivosti s obzirom na pokretno, posebice žensko tijelo, aspekt koji je istaknut u brojnim prethodnim radovima Tanje Ostojić.

O voditeljici radionice:

Tanja Ostojić (* 1972) je priznata umjetnica performansa i interdisciplinarna umjetnica rođena u Jugoslaviji, bazirana u Berlinu i Beogradu, s angažiranim umjetničkim djelima u feminizmu i migracijskoj politici. Uključuje se kao lik u performansima i koristi se raznim medijima u svojim umjetničkim istraživanjima, istražujući tako društvene konfiguracije i odnose moći. Djeluje pretežno iz perspektive žene migrantice, unutar specifičnog društvenog konteksta. Pristupi njenom radu definirani su političkim pozicioniranjem i integracijom recipijenta. Od 1994. godine predstavlja svoj rad na brojnim izložbama, festivalima i mjestima širom svijeta. Držala je predavanja, razgovore, seminare i radionice na akademskim konferencijama i na umjetničkim sveučilištima širom Europe i u Americi.

O radionici

Projekt “Misplaced Women?” uključuje raspakiranje kofera, plastične vrećice, torbice ili sličnog predmeta u javnoj sferi, pri čemu ovi predmeti predstavljaju raseljavanje, kao temu koja je česta u svakodnevnim iskustvima osoba s privremenim boravištem, migranata, beskućnika i izbjeglica iz područja pogođenih ratovima i katastrofama. Cilj radionice je upoznati sudionice/ke s temama i potaknuti raspravu i intervencije u raznim javnim prostorima.

Prvi dio radionice uključuje upoznavanje, informiranje i razgovor, pri čemu će sudionice/i međusobno razmjenjivati pojedinačna iskustva i definirati ciljeve projekta.

Tijekom drugog dijela, sudionice/i se potiču i podržavaju u izvođenju samostalnih i grupnih performansa i intervencija uživo na splitskim ulicama i u parkovima. Javne nastupe dokumentirat će profesionalni fotograf.

Ishodi radionice bit će diskutirani i predstavljeni javnosti trećeg dana u Amfiteatru Doma mladih (Ulica slobode 28). Sve/i sudionice/i radionice pozvane/i su da aktivno sudjeluju u ovoj prezentaciji i razgovoru koji će uslijediti.

Dokumentaciju, bilješke i razmišljanja s radionice prikupit će i urediti Culture Hub Croatia te objaviti na web stranici projekta “Misplaced Women?”.

Datumi radionice: utorak, srijeda i četvrtak (6. – 8. travnja 2021.) 

Rok za prijavu za sudjelovanje na radionici: srijeda, 24. ožujka 2021. 

Tko se može prijaviti:

Dobrodošli su umjetnice/i, studenti/ce i sudionici/e bez obzira na profil i rod, a koji/e se mogu obvezati sudjelovati tijekom cijelog trajanja radionice. Nisu potrebne posebne jezične vještine. Pozdravljamo prijave osoba s invaliditetom, kao i onih koji ne govore engleski ili hrvatski jezik. Navedite sve posebne zahtjeve u svojoj prijavi.

Sudjelovanje na radionici je besplatno, ali zbog ograničenog broja molimo zainteresirane da se prijave. Molimo pošaljite e-mail na info@culturehubcroatia.hr, naslovljen “Misplaced Women? Split”. Prijava treba sadržavati kratki motivacijski i biografski odlomak. Pozivamo vas da dodate poveznicu na svoju osobnu internetsku stranicu ukoliko je imate, kao i svoje kontakt podatke.

Dodatne poveznice:

Misplaced Women? Video Channel na Vimeu

Projekt Misplaced Women?

Tanja Ostojić, publikacije

Culture Hub Croatia

Kontakt osoba: Jasmina Šarić, +385 98 9363264

info@culturehubcroatia.hr

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