MisplacedWomen?

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Mis(s)placed Women? — Istanbul Itinerary

In Istanbul, Workshops on June 1, 2022 at 5:34 pm

A Review of the Tanja Ostojić’s Performance Art Workshop in the Public Spaces

By Performistanbul

Do you know the powerful and satisfying feeling you have after protesting in a public space and collectively claiming your rights out & loud? This is how Tanja Ostojić’s workshop made us all feel. We were re-discovering the strength of gathering and expressing oneself (both bodily and orally) as well as the power of public spaces through performance art; a fluid, non conformist, unique practice.

As a performance art platform we are constantly and passionately working on liveness, but this project felt like life itself.  

From the beginning till the end, it has been a great challenge for the participants but also for the coordination and documentation team. How to coordinate a group of women and queers moving, acting/performing freely in the streets of the city in a country/culture where social gatherings and public protests are banned/prohibited? How to document a series of public performances as they are created and developed organically at the moment it is happening? 

The Open Call

The journey started with an open call. Participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop were invited to apply. After we received around 40 applications, along with Performistanbul’s team (Simge Burhanoğlu, Azra İşmen, Ayda Bayram), Tanja Ostojić meticulously analysed each application. The selection was the key-point. The process during which we discovered each applicant’s personal stories was very emotional and at moments moving to tiers.

Nine powerful women and queer persons (Nazlı Durak, Gizem Yılmaz, Selma Hekim, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Bahar Seki, Arzu Yayıntaş, Gülhatun Yıldırım — unknown to each other), who were experiencing/dealing with issues of migration, marginalisation, displacement, empowerment, feminism and queerness were selected regardless of their experience in the field or in any other field of art.   

The First Part

Tuesday, September 7, 2021 – Performistanbul Building – Galata

The first part of the workshop included getting together, informing and communicating, whereby the participants were invited to exchange with each other about individual experiences and the aims of the project. As the public performances as well as the whole workshop process had to be documented by a professional photograph and video team (Burçin Aktan, Gülbin Eriş, Kayhan Kaygusuz, Gün Üçok), the recordings started from the first meeting moment.

At the beginning of the first day of the workshop, the artist and the participants gathered in Performistanbul’s building’s garden situated in Galata, one of the oldest neighbourhoods of Istanbul. This first meeting was a start to get to know each other by discovering the unique paths of each participant. Ostojić started by creating a human circle before getting to the exercises. During the session, they raised their voices, moved their bodies, discussed the endless definitions of performance art/performing, their backgrounds and the reason why they applied to be a part of this experience and the relation they had with the public space. Before getting to the creative and artistic part, Ostojić was already setting up the tone of the workshop as the whole experience was about freeing the mind — freeing the voice — freeing the body while developing trust, promoting sensibility, supporting, sharing and caring of the other “without leaving anyone behind” (with Ostojić’s own words) . 

“Mis(s)placed Women?” workshop, Istanbul. September 2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

Ostojić’s unique style favoured the building of trust relations with the participants and created a unity. Her human based practice is transferred naturally through her guidance, confidence, sense of freedom and undeniably strong presence. Providing/building a secure space for all the participants, as soon as  they started to feel safe and confident, it was finally time to take to the streets of Istanbul and start the second part of the workshop. Participants selected three itineraries/neighbourhoods for each day of the workshop; Beyoğlu, Nişantaşı, Kadıköy.

From the first day, Ostojić formed the love circle and brought the whole group together. Every person became each other’s sibling, a supporter and a carer to each other starting from day one. A strong group hug was made before leaving the building. The hug made us feel united like we were preparing for the battle we were about to have on the streets.

Protest Scarves Against Turkey’s Retreat from the Istanbul Convention, 2021. İstiklal Street, Istanbul, 07 09 2021. a collective performance action realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the  participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

The Second Part 

Tuesday, September 7, 2021 – Beyoğlu

During the second part, the participants were encouraged and supported to enact live performances and interventions in the streets, parks and stations of Istanbul. 

Thus, the second part of the workshop started on the second half of the first day. On a sunny late summer afternoon, a group of women, accompanied by our team and the documentation crew started their walk to join the İstiklâl (Independence) Street. It was the September 7, marking the anniversary of the anti-Greek pogrom; a series of state-sponsored mob attacks directed primarily at Istanbul’s Greek minority on 6–7 September 1955. Dealing with issues such as displacement, misplacement and migration, the historical event affected the spirit of the first collective performance. While going up through the street of Bostan, where the old German High School is located, all the participants started walking backwards inspired by and referring to Gülhatun Yıldırım’s (one of the participants) performance Just Like the Past (Istiklal Street, public/video performance, 2015). Sharing one action as a group has always a uniting and strengthening effect on both its members and spectators. This is how performances followed one after another till the end of the workshop.  

As the group reached Istiklâl Street, a symbolic space for social movements, female and queer bodies walking backwards turned into making up a statement, it became a protest action given that it is forbidden to gather and demonstrate in Istiklâl Street since Gezi Protests (2013).

Protest Scarves Against Turkey’s Retreat from the Istanbul Convention, 2021, İstiklal Street, Istanbul, 07 09 2021. a collective performance action realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the  participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

Arzu Yayıntaş, one of the participants, grabbed a scarf and started waving it with the wind. Other participants followed her by using their own scarves or borrowed some of Persefoni Myrtsou’s grandmother’s unused dowry that she brought with her and shared with others during the whole workshop as performance props. Arriving in front of the banner displayed on the Istanbul Bar Association Building, on which we could read in Turkish: “The Istanbul Convention saves lives”, all the participants stopped and continued waving various beautiful colourful fabrics that became flags and expressed themselves on Turkey’s withdrawal from the İstanbul Convention. They have created a kind of huge “tableau vivant” that drew the attention of the public. Some of the crowd just stopped to contemplate the group and some of them started imitating their reverse walk. This is when we had to face the first police interruption and our first warning. After three distinct patrols checked all the papers and filming permits that we had, and then two other patrols interrupted the walk, we were informed that we could not walk and film through İstiklâl Street and that we could only continue our “activities and actions” in the backstreets. As Performistanbul team, our main role has been to be dealing constantly with authorities, so that the performance and documentation process were the least affected. It has been made quite clear that we had to re-think our relation to public spaces and the right we have to make use of it; What is a public space? What is/isn’t allowed in public spaces? Who/which groups are tolerated to gather in public spaces?… Those questions would only keep repeating in our minds till the end of the workshop process.

This is how the whole group decided to settle and occupy a space in a traditional street “tea house”, located in Mis Street, mostly populated by men. All the group started exploring Persefoni Myrtsou’s dowry and spreading it. Each participant selected a piece and started transforming it with embroidery while Myrtsou was preparing Turkish coffee for fortune telling. The performance established a safe bubble transforming the space into a place dedicated to womanhood as well as queer-hood. The female presence and aesthetics took over the place. Some of the passers by took a break and watched the amusing and meditative imagery created by the group asking questions about what was happening. It was the end of the first day.

“Mis(s)placed Women?” workshop, Istanbul, a collective performance in tee house, Mis Street (2021), with the  participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

Wednesday, September 8, 2021-Nişantaşı

On the second day of the workshop, all the participants gathered in front of the Teşvikiye Mosque. The first meeting to plan the day was made in the Mosque’s garden. After a conversation about what happened the previous day, Ostojić and the participants started discussing the progression of the day, making different propositions and already setting a frame for the upcoming performances. “To be present for the other, listening and communicating. Unity, trust, empowerment, devotion, sincerity” were the main keywords that would lead the workshop. 

Before reaching the square in Kadırgalar street [a posh street of Istanbul surrounded by luxury brands and cafes], the performance space for the day that the participants selected together, Arzu Yayıntaş made a proposition for the first collective performance of the day. Most of the participants were randomly complimenting and catcalling men that they came across during the walk. Selma Hekim contributed to the walk with the uncommon sound of her traditional erbane/daf, also known in Syrian, Arab, Kurdish, Armenian and Persian communities; women played this instrument as they believed it to be a cure for fear and diseases. Living in a patriarchal society, the confusing behaviour of the performers mostly produced positive reactions in the public, setting a smile on the faces of audiences. Even though women experience the catcalling act as a form of aggression, men seemed to be quite pleased with the attention they received and sometimes even shocked by this unexpected behaviour. The performance was repeated multiple times while the group was walking.

Since the first day, each participant brought some performance props with them. It was time to start exploring the props both individually and collectively. Once the group reached the performance space, various group and solo performances started to pop up. Bahar Seki grabbed her dry shampoo bottle and started performing by making continuous and repetitive movements with her whole body along with Selma Hekim’s playing erbane. 

“Mis(s)placed Women?” workshop, Istanbul, a performance by Bahar Seki (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

Nazlı Durak, Gizem Yılmaz, Vanessa Ponte, Arzu Yayıntaş, Selma Hekim and Persefoni Myrtsou started performing simultaneously. Some of the individual performances connected with each other creating a collective performance while some others differed with each other. Persefoni Myrtsou performed while being blindfolded one of the “Mis(s)placed Women?” project scores: “unpacking and repacking” a bag in the public space. The rest of the group started unpacking and interacting with their props and each other. Arzu Yayıntaş explored objects associated with womanhood by society. Combining many clothing objects and wearing them in an unusual way while moving her body in a displeasing eccentric way in opposition to what is expected from womanhood. Meanwhile, Vanessa Ponte and Gizem Yılmaz, were displaying beautifying actions such as putting on makeup and dressing up in the most absurd ways accentuated by repetitive movements. Next to this duo, Nazlı Durak was exploring Yayıntaş’ props. Dressing up herself with princess costumes for children, she tries to fit into society with a new unexpected identity. During the whole session Selma Hekim accompanied the group by playing erbane. 

“Mis(s)placed Women?” workshop, Istanbul, a performance by Arzu Yayıntaş (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

After the lunch break, the next stop was the Teşvikiye Mosque. We had legitimate concerns about performing at a mosque courtyard in Turkey. Yet, Ostojić was sure of herself with each step of the process. If it comes to that, we could maybe get warned, or kicked out but she insisted on defending our right to use this public space. Tanja always encouraged us by moving forward with a fighting and protesting spirit, an inclusive dominant identity of a female, independent of geography and culture. Due to our concerns about us being from Istanbul and people’s traditional values, we were able to move forward with Tanja’s leadership and the safe space Ostojić provided for us.

“Mis(s)placed Women?” workshop, Istanbul, a performance by Gülhatun Yıldırım (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić

Gülhatun Yıldırım performed next to an empty fountain pool at the Mosque’s garden. Sitting by the fountain, Yıldırım placed dozens of ice cubes on her lap and stood still, enduring the burning pain of ice for approximately two hours, until the last ice cube melted and leaked into the empty pool. As a performance artist, water and its various forms is part of Yıldırım’s practice. She is in constant research of her body limits while searching new ways of interacting with water. The ephemerality and the transformative effect of the material referring to the issues of forced nomadism, migration and displaced communities, attracted the artist, so this is how this durational piece has been created. 

After a while, the group left Yıldırım’s performance to continue their journey. But she was not on her own, one camera person and a member of the production team stayed with her until the end of the performance. Nobody was left alone during the whole workshop. 

For the second part of the day, Ostojić invited participants to rethink about their performance and to reperform some of the performances as they needed to be deepened and to be worked on.

In the wake of individual and collective re-performances, Myrtsou continued working with her grandmother’s dowry, displaying all its content, sharing it with other participants. Then she started hanging the dowery pieces on one side of the square with the help of some of the participants. While Myrtsou finished unpacking, Nazlı Durak installed herself comfortably in her luggage creating a safe and cozy space. After building herself a spinose crown made of knitting needles and yarn with the help of Selma Hekim she started to give herself to a domestic female activity; knitting. Her work brought up questions in mind such as “Where is home? What is home? Can any place turn into a home? How does it feel to be forced to quit home?”. 

Reconsidering the recent police attack to the queer picnic organised in Maçka Park — which was very close to the square — Gizem Yılmaz and Sabbi Senior wanted to revive a surreal queer picnic scenery. They went exploring the construction site next to the square in order to bring together some props for their “Queer Breakfast” piece. A gasoline bottle, cement, stones became snacks and treats. Enjoying cheerfully that nonsensical breakfast that slowly transformed into a queer playing house for adults. The message was simple; to draw attention to the innocence of their act.

Close to Myrtsou, Arzu Yayıntaş and a passerby that joined her began embroidery activities. Simultaneously, another embroidery performance session started with Tanja Ostojić and Bahar Seki on the opposite side of the square. Later on, Persefoni Myrtsou and Selma Hekim joined the duo. 

Embroidery became like a uniting therapeutic closing ritual of the day.

Collective performance actions realised at the Teşvikiye Square, Istanbul, 08 09 2021. in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the  participation of: Bahar Seki, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

The whole square turned into an installation in which various performances popped up. Knitting, embroidering, beautifying, cooking, playing house — all the performances were related to traditional feminine activities mainly destined to be practiced indoors, however the act of displaying those activities outdoor in a public space and deviating from its essential aim became a feminist/queer statement itself.

During the performances at this location we only have been interrupted once by a policeman that politely asked us to leave as we found it at the ending time of the workshop. We had different types/groups of audience. Some of them were only passersby who stared at the scenery very briefly while some of them stayed and watched the performances. Many questions were raised and comments were shared as they were trying to relate the performances to the actuality trying to analyse it according to their background. And this is how the second day came to an end.

Thursday, September 9, 2021-Kadıköy

On the third day of the workshop that comprised public interventions, the whole group met in front of the Kadıköy Ferryboat Docks. The day started with the “Holding the Mis(s)placed Women? Sign” score. The first score was performed by Vanessa Ponte, they arrived at the meeting point already holding their sign and placed themselves next to the Kadıköy Ferryboat Docks with the historical Haydarpaşa Railway Station and the Bosphorus view in the background. They were holding a sign on which they wrote “Misplaced Human/Misplaced Woman”, standing still with her red hoodie, worn backwards, covering her face. It was a very strong image. Knowing that there is a human inside that body without being able to identify anything about it had a strong effect on the audience. Many passersby stopped by to watch. Sabbi Senior joined Ponte with her own sign on which we could read “MIS(S)PLACED WYMYN”. With a very feminine wear (a crop top and mini skirt), they stand still next to Ponte. Next to them, Persefoni Myrtsou and Gülhatun Yıldırım who have just prepared their own signs in Turkish joined the performance. Many asked why only “women”, they suggested that it should also  include men. 

Score #2: Holding the “Mis(s)placed Women?” Sign, performed by Sabbi Senior, Vanessa Ponte, Persefoni Myrtsou and Gülhatun Yıldırım, Kadıköy Port, “Mis(s)placed Women?” workshop, Istanbul, (2021). Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

15-20 minutes after Ponte started performing, a police patrol came to interrupt both the filming and the performance and took one of Performistanbul’s team members with them to start an interrogation about “what was happening”. A dozen police officers gathered in a prefabricated cabin and they started preparing a police statement informing the team member about the illegal nature of the activities that the participants have been doing in public space. We were not allowed to show and film people holding signs in public space, one policeman qualified the performance as a terrorist act. After a long negotiation, they let us go without a fine but we had to stop the performances and move immediately to another location. We have been literally chased away from the meeting spot and we were forbidden to resume the performances unless we get extra permission documents from the prefecture and the district police department of Kadıköy. While the participants and some of the coordination and documentation team continued their walk inside the small streets of Kadıköy, Performistanbul’s staff and the camera woman went to collect new permissions documents. It took almost two hours to gather all the documents —that were not necessary— and come back to the performance location. Meanwhile, after the group left, two undercover policemen started to follow the group. The two policemen stayed with the group until the end of the day, they also documented the performances and reported what was going on to the police station. Sometimes they gave warnings to the coordination team about what can/can’t be done in public spaces (without directly interrupting the workshop) and also asked many questions about the project, the performances as well as the discipline itself.

The group was led to the small streets of Kadıköy Bazaar. After walking for a while, they gathered in circle at the small square in front of Surp Takavor Armenian Church where numerous security cameras were installed and started performing some warming-up exercises. Soon, policemen warned the group that they have to move to another location. It was time for lunch, until the group got to the restaurant, they started performing with their voice. Words were forbidden but screaming was not. Therefore, the group of ten women and queers raised their voice together through the small streets of Kadıköy. The magical moment happened when senior people started hitting some objects with their canes to support the “protest” actions of the group.

After the lunch break, the group moved to Bahariye Street in front of the Süreyya Opera. Vanessa Ponte proposed a performance referring to the oppression of the queer community in Istanbul  tackling the male gaze. Along with Sabbi, Nazlı and Gizem, Vanessa started to tie up their hands and legs. Then the music started and they started to dance depicting the struggles of a queer body in public space while freeing it and celebrating its existence.

A collective performance with the  participation of: Nazlı Durak, Sabbi Senior, Gizem Yılmaz and Vanessa Ponte, 2021. Realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić. Süreyya Opera House, Istanbul, 09.09.2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić

Following this performance Ponte continued proposing; they also included Persefoni Myrtsou and Arzu Yayıntaş. Ponte’s body was tied up and pulled in different directions while they were trying to put make up on their queer face wearing a purple moustache. The absurdity and struggle caused by the action was expressing both the oppression and vulnerability of the queer body.

Selma Hekim took over the performance space. Her performance was about “leaving traces” dealing with issues such as immigration, the sense of belonging, the kinship between past and present, as well as the need to leave a legacy. She lied on the floor and asked Sabbi Senior, Arzu Yayıntaş, Vanessa Ponte and Persefoni Myrtsou to draw the outline of her body on the floor. Each time the group started drawing, Hekim continuously moved her body until the floor was covered by multicolour lines. 

A performance by Selma Hekim with the  participation of: Arzu Yayıntaş, Nazlı Durak, Persefoni Myrtsou, Sabbi Senior, Selma Hekim and Vanessa Ponte, realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, Süreyya Opera House, Istanbul, 09 09 2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

The group moved to Kadıköy Greek Orthodox Metropolitan Bishop, where Persefoni Myrtsou presented her solo performance. She started by unpacking her grandmother’s dowry that she carried in her suitcase during the entire workshop since the day one. It was not a simple luggage, with all the different sorts of dowry, it also contained memories of her grandmother and community as well as their migration story and past history. It was time to fully engage with them and confront what was embedded in them. Myrtsou started covering herself with each piece of dowry. With the help of Ostojić, passing by women and other participants, she covered her whole body creating a bridal gown made of dozens of dowry pieces. Then she started distributing the rest of the dowry to the passersby. The dowry would continue to live in different lives, being part of different stories. Somehow Myrtsou found a way to communicate and reconcile with her past through her grandmother’s untouched dowry and share it with others. We could hear her soft sobs through the multiple  layers of textiles. At the same moment it started raining, it was like the sky was empathising with her trying to carry away her sadness. It was a visually and contently very strong piece that deeply touched each of us. At the end all the participants gave a huge hug to Myrtsou and helped her get out of this “heavy” dress.

“Mis(s)placed Women?” workshop, Istanbul, Doily Monster-Bride, a performance by Persefoni Myrtsou. (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

Just before the workshop ended, Gizem Yılmaz  sat down on the street next to a sign on which she wrote “Poor Artist”. Covering her face with a veil, she randomly started playing an ukulele while singing a ridiculous song about the situation of the “poor woman artist”. Nazlı Durak joined the performance spontaneously, accompanying Gizem with her absurd dance. Looking like a mixture of beggars and/or extravagant boheme street artists, they tried to depict humorously the situation and struggles of the artists in our current society. It was the end of intense three days long performance interventions on the street.

“Mis(s)placed Women?” workshop, Istanbul, a performance by Gizem Yılmaz and Nazlı Durak (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

The Third Part 

Saturday, September 24, 2021-Beykoz Kundura Cinema

Next time the entire group gathered was at Beykoz Kundura Cinema, to watch together the first edit of the documentary movie depicting the workshop, to discuss and present the outcomes to the public. All participants of the workshop were invited to take active part in the presentation and the following discussion led by Tanja Ostojić. Each participant discussed their experience analysing it thoroughly with comments of Ostojić and other participants.

The whole workshop was a (re)discovery of what is/isn’t/can be performance art. Through her inclusive and pedagogical practice, Tanja Ostojić gave to the nine distinct participants the opportunity to discover, create, explore and develop a performative practice. By providing a safe space (even though in the public spaces) and continuous support, Ostojić encouraged both self-expression, public presence, collective creation and community building. It was a huge experience full of emotions for all the participants as well as the documentation and coordination team. 

We were on the edge the entire time on the streets. It felt like we were on a battlefield. A battle we were already having every day.  A war, we have against the difficult conditions of being a woman/a queer in Turkey, and for the performance art practice we produce and try to protect. It was a very inspiring and empowering experience for us Performistanbul as well. Thanks to Ostojić, we were finally able to come out to the streets and make our voices heard as we always wanted and needed.

“Mis(s)placed Women?” workshop, Istanbul. Persefoni Myrtsou, Ayda Bayram, Azra İşmen, Simge Burhanoğlu, Arzu Yayıntaş, Nazlı Durak, Selma Hekim, Tanja Ostojić, Gülhatun Yıldırım, Sabbi Senior, Vanessa Ponte, Gizem Yılmaz, September 2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.

We were not direct participants… yet, to be with the participants at all times, to be the meeting bridge in order to make their voices heard made us part of the workshop and community as facilitators. Making public performances possible, supporting the participants and the artist during the process, to ensure the smooth running of Ostojić’s workshop was actually Performistanbul’s performance. Ostojić’s sharp, determined, confident nature became her guide. At the same time, her humble approach, loving embracing and openness to each idea created a space that encouraged free expression and communication. Such a unique and one of a kind experience was created that just like the particles colliding with each other in the creation of the universe, the participants grew and propagated by listening and reading each other, interacting, communicating…

Many of the interventions were not completely understood by the diverse audiences, but that did not matter, as it was not a show but a display of an expressive stance. Performance was not present as an academic discipline and it was not essential. As Performistanbul, since our establishment we approached performance art as a communication tool to bring people together, to vibrate and to heal collectively and it also has been Ostojić’s way to connect with the participants and the public. We prioritised our natural needs over the technical ones. This openness of heart and transparency led us to live art rather than producing it. We were present at that moment, fully feeling its liveliness. 

We are grateful, thankful for all the participants and Tanja Ostojić for revealing and sharing  their unique  identities, memories, experiences, and sorrows with us. We would like to sincerely thank Ostojić  for making us a part of this long adventurous journey that led us to a discovery of ourselves, of performing in public spaces and producing a collective/participative creation. 

Now remembering our strength as women, we feel together, and we know that we have each other.

By staying a collective, staying whole, we continue transforming and keep transforming…

The Writing Part as a Post Scriptum:

At the end of the second part of the workshop (performances on the street) all participants, including the coordination team, have received Ostojiić’s instructions on how to write reviews and short texts including reflections about our experience of the workshop. First drafts of the texts were due before the screening and the round table at Beykoz Kundura so that participants could prepare for the public presentation. Those short texts and essays are in the process of editing by Tanja Ostojiić in order to be gradually published on the project blog.

This review has been written a half a year after the workshop took place and includes a chronological description and brief analysis of all performances and the workshop’s process as a whole, comprising reflections on Tanja Ostojiić’s practice and our own experience as a performance art platform that coordinated the project. 

Besides digging in our memories, we went through the 90-minutes-long documentary video about the workshop process, the notes that we have gathered in September as well as all the reflections shared by the participants. The reflections were a crucial part of the workshop in which each participant shared and analysed their own experiences of both the performance(s) they realised as well as the one(s) they witnessed. In our review, we tried to include as much as possible their approach in respect of their intentions and analysis, to avoid misinterpretations and confusions which may sometimes compromise the main motives of creation. The participants’ perspectives and intentions can not be extricable from the analysis. Thus, we would like to acknowledge and thank all the participants who indirectly contributed to the creation of this review, especially Persefoni Myrtsou who wrote an extremely meticulous and detailed reflective essay on the whole workshop process.

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Review written by: Azra İşmen & Simge Burhanoğlu, Performistanbul

Edited and first published on the MIS(S)PLACE WOMEN? blogue by Tanja Ostojić on June 1, 2022. (Anniversary of the beginning of the Gezi-Park-Protests  June 1, 2013.)

Updated with the Post Scriptum on June 8, 2022.

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Workshop led by Tanja Ostojić

With the group and individual performances by: 

Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Sabbi Senior, Selma Hekim, Vanessa Ponte and Tanja Ostojić.

Documentation Team

Gülbin Eriş – Camera, Video Editing, Gün Üçok – Camera Assistant, Burçin Aktan – Sound Operator and Kayhan Kaygusuz – Photographer

Performistanbul Team 

Azra İşmen & Simge Burhanoğlu – Organisers and Ayda Bayram – Coordinator

Cultural Academy Tarabya

Çiğdem İkiışık – Program Coordinator 

The Mis(s)placed Women? production in cooperation with Cultural Academy Tarabya and Performistanbul in the frame of Ostojić’s four-months-long residence in Cultural Academy Tarabya (June-September 2022).

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Save the dates: 

June 18, 2022, Istanbul premier of the ‘Mis(s)placed Women? Istanbul’ 68 min documentary by Tanja Ostojić: Mis(s)placed Women? Performance Art Workshop by Tanja Ostojić(2021-22), at the Tarabya Summer Festival, Istanbul.

The video documents collective and individual performances, reflections and the process of the Mis(s)placed Women? workshop realised over four days in several neighbourhoods of Istanbul during September 2021. The workshop uses principles of Art as Social Practice that on one side explores a variety of public spaces and the possibilities for temporary interventions in them, and on the other, empowers participants via a Master-class-like block seminar, a laboratory outside of an educational institution. Istanbul itinerary of the   project (ongoing since 2009) was marked by massive police presence, appreciative responses from the people on the street, and the participants who were amazingly supportive of each other, highly motivated to engage in the collaborative work and in agency to work with the issues of displacement, feminism, queer issues and the public space.

September 15, 2022, ‘Mis(s)placed Women?’ Project retrospective, exhibition opening at DEPO Istanbul

September 20-24, 2022, ‘Mis(s)placed Women?’ International community gathering in Istanbul and live events at DEPO and outside

Please visit the related posts and links:

Mis(s)placed Women? (2009-2022) About the project

Open Call for Participants: Tanja Ostojić’s Mis(s)placed Women? Performance Workshop in the Public Spaces of Istanbul

Tanja OSTOJIĆ: Score #1: Unpacking a Bag of Your Own2009

Tanja OSTOJIĆ: Score #2: Holding the Misplaced Women? Sign, 2012

Misplaced Women? Video Channel

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

The Press coverage of the Istanbul Workshop:

Interview:

Unlimitedrag interview with Tanja Ostojic by Aise Draz,

Announcements:

https://www.unlimitedrag.com/post/mis-s-placed-women-atolyesi-icin-acik-cagri

https://www.disonans.com/post/performistanbul-dan-açık-çağrı-tanja-ostojić-mis-s-placed-women-atölyesi

https://kaosgl.org/haber/tanja-ostojic-in-mis-s-placed-women-performans-atolyesi-istanbul-sokaklarinda

Sanattanbihabervar Instagram https://www.instagram.com/p/CSuChKtAe9g/

Cumhuriyet – Printed Publications:

https://www.artfulliving.com.tr/gundem/tanja-ostojiin-missplaced-women-atolyesi-istanbulda-i-23787

https://www.artdogistanbul.com/en/tumu/guncel_sanat/ostojicin-atolyesi-istanbul-sokaklarina-geliyor.htm

https://bantmag.com/tanja-ostojicin-missplaced-woman-performans-atolyesi-7-9-eylulde/

çokiyiişler – Instagram Story https://www.instagram.com/p/CS_mbpCASKa/

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Tanja Ostojić was a recipient of the Cultural Academy Tarabya, Istanbul, Fellowship in 2021 and is currently a recipient of the Stiftung Kunstfonds NEUSTART KULTUR Stipend for the contemporary visual arts in 2022.

Misplaced Women? Split Station

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

A Review of the Tanja Ostojić’s Performance Art Workshop in the Public Spaces

By Culture Hub Croatia

(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

Katılımcılara Açık Çağrı: Tanja Ostojić’in Mis(s)placed Women? Performans Atölyesi İstanbul’un sokaklarında

In Istanbul, News, Workshops on August 11, 2021 at 7:11 pm

Open Call in ENGLISH (click and follow the link)
Scroll down for German / Nach unten scrollen für Deutsch  


7-9 Eylül 2021 tarihleri arasında, Tanja Ostojić ile İstanbul’un çeşitli kamusal alanlarında gerçekleşecek 4 günlük performans sanatı atölyesi Mis(s)placed Women?, uluslararası performans sanatı platformu Performistanbul ve Tarabya Kültür Akademisi işbirliğiyle düzenleniyor. Atölye, 25 Eylül Cumartesi günü, Beykoz Kundura Sineması’nda gerçekleşecek halka açık sunum ile sona eriyor. Tarabya Kültür Akademisi’nde konuk edildiği süre kapsamında gerçekleştirdiği atölyede Ostojić, bireylerin yerinden edilme deneyimleri üzerinden Canlı Sanat pratikleri ile metodolojilerini araştırıyor. Başvuru için son tarih 31 Ağustos 2021.

Tanja Ostojić’in 2009 yılından bu yana devam eden  Mis(s)placed Women? sanat projesi,  uluslararası sanatçılarla farklı sosyal çevrelerden gelen kişilerin katkılarını da içeren performanslar, performans serileri,  atölye çalışmaları ve temsili performanslardan oluşuyor.  Bu proje kapsamında, geçici veya uzun süreli göçmenler, savaş ve doğal afet mültecileri ile queerler, evsizler… ve hayatlarını kazanmak için dünyayı dolaşan gezgin sanatçıların da çok iyi bildiği, yerinden edilmeyi konu alan bazı günlük yaşam faaliyetleri somutlaştırılıp hayata geçiriliyor. Bu performanslar, Ostojić’in geçmiş birçok çalışmasında öne çıkan nitelikteki, hareket hâlinde olma ve özellikle de kadın bedeni üzerinden göç temaları ile güç ve kırılganlık ilişkilerini incelemeyi sürdürüyor.

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

Atölye, sürecin tamamına katılmayı kabul eden, tüm yaş, cinsiyet, köken, sosyal çevre gruplarından, deneyim seviyesi gözetmeksizin herkese açıktır.  Göç, performans sanatı, kendini kadın olarak tanımlamanın beraberinde getirdiği koşullar, toplumsal cinsiyet temsilleri ile kamusal alanda sanat konularına ilgi duyanları özellikle davet ediyoruz. Katılımcılar, göç, marjinalleşme, yerinden edilme, maruz kalma ve ayrıcalıklı olma konularındaki deneyimlerini karşılıklı paylaşmaya ve Mis(s)placed Women? performanslarının bazılarını hayata geçirmeye davet ve teşvik ediliyor. Atölye ücretsiz olup, içecek, atıştırmalık ve yemek ikramı ile katılımcıların çalışmalarının profesyonel fotoğraf ve video dokümantasyonu sağlanacak.  Sınırlı sayıda yer olması nedeniyle katılmak isteyenlerden başvuru yapmalarını önemle rica ediyoruz. (Başvuru bilgileri aşağıdadır.) Atölye İngilizce dilinde gerçekleşiyor. Katılımınız için herhangi bir özel gereksiniminiz olması durumunda, motivasyon mektubunuzda konuyu bizimle paylaşmanızı rica ederiz, örneğin işaret dili çevirisi vb. ihtiyaçlar için…

Atölye ve sunum sürecinde Koronavirüsün yayılmasını engellemek adına tüm hijyen önlemleri uygulanacaktır. Katılımcıların tümü kamusal alanlarda performans sergileme imkânına sahip olacak ve atölyenin çıktıları, dokümantasyon görüntülerinin de yer aldığı halka açık bir söyleşi formatında kamuoyuna sunulacak ve Misplaced Women? sanat projesinin proje blogu ile proje arşivine dâhil edilecek.

Program:

Atölye: 7-9 Eylül Salı, Çarşamba ve Perşembe. 11:00-17:00 arası (Molalar dâhil). İlk toplantı ve tanışma Performistanbul’un Galata’daki binasında, geri kalan atölye ve performanslar ise İstanbul’un çeşitli semtlerinde gerçekleşecek. 

25 Eylül Cumartesi günü saat 17:30’da Beykoz Kundura Sinema’sında izleyicilerin de katılabileceği, atölye sunumları hakkında katılımcılarla söyleşi gerçekleştirilecek.

Başvurular için son tarih Salı günü, 31 Ağustos 2021.

Başvuranlara en geç 6 Eylül tarihine kadar bilgi verilecektir.

Atölye ve başvuru hakkında detaylı bilgileri aşağıda bulabilirsiniz:

Sanatçı ve Atölye Yürütücüsü Hakkında:

Tanja Ostojić 1972 yılında Yugoslavya’da dünyaya geldi. Disiplinlerarası çalışan performans sanatçısı. Uluslararası platformda kurumsal cinsiyet eleştirisi alanının öncülerinden olan sanatçı, toplumsal ve siyasal katılım temelli feminist sanat ve kamusal alanda sanat çalışmalarıyla tanınmaktadır. Sanatsal çalışmaları üst düzey teorik referanslar içermekte olup, çok sayıda kitap, dergi ve antolojide incelendi. The Guardian tarafından yakın zamanda Looking for a Husband with EU Passport (2000-05) çalışması ile 21. yüzyılın en iyi 25 sanatçısı arasına seçildi.

Ostojić, Sırbistan’da Belgrad Sanat Üniversitesi’nde Heykel, Fransa’da École Régionale des Beaux-Arts Nantes’ta Serbest Sanat öğrenimi gördü, Universität der Künste Berlin’de disiplinlerarası araştırmalar alanında Albert Einstein araştırma bursu kapsamında çalışmalarını sürdürdü (2012-14). Çeşitli bağışlar ve ödüller aldı; 1994’ten beri performansları ve sanat eserleri dünya çapında birçok önemli sanat mekanına ve festivale ulaştı. Eserleri önemli müze koleksiyonlarının bir parçasıdır, Avrupa ve Amerika çevresindeki akademik konferanslarda ve sanat üniversitelerinde konuşmalar, konferanslar, seminerler ve atölyeler vermiştir.

Tanja Ostojić Haziran ile Eylül 2021 tarihleri arasında Tarabya Kültür Akademisi konuk sanatçısı olarak İstanbul’da bulunuyor.

Atölye Hakkında:

Mis(s)placed Women? projesi, kamusal bir alanda bavul, poşet, el çantası ya da benzeri bir nesnenin içinin açılarak boşaltılmasını içerirken bu nesneler yoluyla geçici ve süreli göçmenlerin, evsizlerin, savaş ve doğal afet mültecilerinin günlük deneyimlerinde yaygın bir tema olan yerinden edilme hâlini temsil ediyor. Atölye, katılımcıları bu konularla ilişki kurdurarak, onları tartışmaya açmaya ve çeşitli kamusal alanlarda müdahalelerde bulunmaya teşvik etmeyi amaçlıyor.

Atölyenin ilk bölümü, bir araya gelme, bilgilendirme ve iletişim kurmayı içeriyor; bu sayede katılımcılar bireysel deneyimleri ile projenin amaçları hakkında birbirleriyle fikir alışverişinde bulunabiliyor.

İkinci bölüm sürecinde katılımcılar, İstanbul’un sokak, park ve istasyonlarında canlı performanslar ile müdahaleler gerçekleştirmeye teşvik edilip destekleniyor. Halka açık olan performanslarla  atölye süreci, profesyonel fotoğraf ve video ekibi tarafından belgelenecek.

Atölyenin dördüncü gününde, Beykoz Kundura’nın Sinema’sında atölye çalışmalarından kesitler izleyicilere sunulacak. Atölyenin tüm katılımcıları sunuma ve sonrasında gerçekleşecek olan söyleşiye etkin olarak katılmaya davetlidir.

Atölyenin dokümantasyonu, notları, yazılı metinleri ile yansımaları Performistanbul tarafından toplandıktan sonra editlenmiş ve çevrilmiş hâliyle Mis(s)placed Women? sitesinde yayınlanacak.  

Nasıl başvurulur:

Atölye, sürecin tamamına katılmayı kabul eden, tüm yaş, cinsiyet, köken sosyal çevre gruplarından, deneyim seviyesi gözetmeksizin herkese açıktır. Katılımınız için özel gereksiniminiz olması durumunda, motivasyon mektubunda konuyu bildirmenizi rica ederiz.

Atölye ücretsiz olup, sınırlı sayıda yer olması nedeniyle ilgilenen kişilerin katılmak için başvuru yapmasını rica ediyoruz. Başvurmak için, başvuru formunu doldurabilir veya kısa motivasyon mektubunuz ile biyografinizi içeren metinleri misplacedwomen@performistanbul.org adresine gönderilebilir. Kişisel bilgilerinizle – eğer varsa – internet sitenizi de paylaştığınız bilgilere ekleyebilirsiniz. 

Atölye Tarihleri:

Atölye: 7-9 Eylül Salı, Çarşamba ve Perşembe. İstanbul’un farklı semtlerinde 11:00-17:00 arası (Molalar dâhil).

Atölye sonuçları ve halka açık sunum: 25 Eylül Cumartesi, 17:30

Başvurular için son tarih Salı günü 31 Ağustos 2021.

Başvuranlara en geç 6 Eylül tarihine kadar bilgi verilecektir.

İlave linkler:

Misplaced Women? project

Misplaced Women? Video Channel 

Tanja Ostojić, books

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

Tüm sorularınız için lütfen iletişime geçiniz:misplacedwomen@performistanbul.org

———– DEUTSCH / GERMAN ——–

Open Call: Mis(s)placed Women? Ein Performance-Workshop im öffentlichen Raum Istanbuls von Tanja Ostojić

Open Call für die Teilnahme am 4-tägigen Performance-Kunst-Workshop Mis(s)placed Women? mit Tanja Ostojić, der vom 7. bis 9. September 2021 an verschiedenen öffentlichen Orten in Istanbul stattfinden wird. Der Workshop wird organisiert von der internationalen Performance-Kunst-Plattform Performistanbul in Zusammenarbeit mit der Kulturakademie Tarabya, gefolgt von einer öffentlichen Präsentation der Ergebnisse im Beykoz Kundura Cinema am Samstag, den 25. September. Der Workshop findet während Ostojićs Aufenthalt an der Kulturakademie Tarabya statt und erforscht Praktiken und Vorgehensweisen der Live Art in Zusammenhang mit individuellen Erfahrungen der Vertreibung im weitesten Sinne. Bewerbungsschluss ist Dienstag, der 31. August 2021.

Score #2: Holding the Misplaced Women? Sign: Taxi driver holding the Misplaced Women? sign on the Istanbul International Airport.
June 1, 2021. Photo: Tanja Ostojić 

Mis(s)placed Women?  ist ein von Tanja Ostojić 2009 begonnenes Kunstprojekt, das aus Performances, Performance-Serien, Workshops und Performances von Künstler:innen aus aller Welt mit Menschen unterschiedlichster Herkunft verwirklicht wird. Im Rahmen dieses Projekts werden alltägliche Aktivitäten von Menschen die Vertreibung erlebt haben verkörpert und gezeigt  VonMigrant:innen, Kriegs- und Katastrophenflüchtlinge, ebenso wie genderqueeren Menschen, Obdachlosen, Menschen auf der Durchreise… und die durch die Welt reisenden Künstler:innen, die so ihren Lebensunterhalt bestreitenDiePerformances setzen sich mit Themen der Migration und der Beziehungen von Macht und Verletzlichkeit hinsichtlich des bewegten und insbesondere des weiblichen Körpers auseinander, ein Aspekt, der bereits in zahlreichen früheren Arbeiten von Ostojić eine tragende Rolle spielte.

Teilnehmende jeder Herkunft, aller Altersgruppen, Genders und Erfahrungsgrade sind herzlich eingeladen sich zu bewerben. Wir möchten insbesondere diejenigen ermutigen teilzunehmen, die sich für Fragen der Migration, Performance-Kunst, Bedingungen für diejenigen, die sich als Frauen identifizieren, Darstellungen von Geschlecht und Kunst im öffentlichen Raum interessieren. Die Teilnehmenden sind eingeladen und dazu angehalten, Erfahrungen und Themen wie Migration, Marginalisierung, Vertreibung, Ausgesetztheit und Privilegien zu erörtern und auszutauschen sowie einige der Misplaced Women? Performances zu erarbeiten. Der Workshop ist kostenlos, für Erfrischungen und eine leichte Mahlzeit ist gesorgt, eine professionelle Foto- und Videodokumentation der Arbeiten der Teilnehmenden wird ebenfalls zur Verfügung gestellt. Da die Anzahl der Plätze begrenzt ist, bitten wir Sie, sich anzumelden. Der Workshop wird in englischer Sprache abgehalten; teilen Sie uns in Ihrem Motivationsschreiben bitte etwaige besondere Bedürfnisse mit, damit wir versuchen können, Übersetzungen für z. B. sehbehinderte Personen und Gebärdensprache für hörgeschädigte Teilnehmende etc. anzubieten.

Während des Workshops und der Präsentation werden alle erforderlichen Hygienemaßnahmen zum Schutz vor der Verbreitung des Coronavirus befolgt. Alle Teilnehmenden werden die Möglichkeit haben, im öffentlichen Raum zu performen, und die Ergebnisse werden der Öffentlichkeit in Form eines Publikumsgesprächs in Verbindung mit Bildmaterial präsentiert und in den Blog des Projekts Misplaced Women? sowie in das Projektarchiv aufgenommen.

Zeitplan:

Workshop: Dienstag, Mittwoch und Donnerstag, 7. bis 9. September. Von 11:00 bis 17:00 Uhr (einschließlich Pausen). Das erste Treffen und die Einführungssession finden im Gebäude von Performistanbul in Galata statt, der Rest des Workshops und die Performances werden in verschiedenen Vierteln Istanbuls durchgeführt.

Ein Gespräch über die Ergebnisse des Workshops mit den Teilnehmenden und der Öffentlichkeit findet am Samstag, den 25. September um 17:30 Uhr im Beykoz Kundura Cinema statt.

Die Bewerbungsfrist endet am Dienstag, den 31. August 2021.

Alle Bewerber:innen werden bis spätestens 6. September benachrichtigt.

Nachstehend finden Sie weitere Informationen über den Workshop und die Bewerbungsmodalitäten:

Über die Künstlerin und Workshopleiterin:

Tanja Ostojić (*1972) ist eine renommierte, in Berlin lebende, in Jugoslawien geborene Performance- und interdisziplinäre Künstlerin, die auch in den Bereichen Forschung und Bildung tätig ist. Sie ist international bekannt als Pionierin der institutionellen Geschlechterkritik und der sozial und politisch engagierten feministischen Kunst im öffentlichen Raum, insbesondere im Kontext von Migrations- und Genderfragen. Ihre Kunstwerke haben einen hohen theoretischen Referenzgrad und wurden in zahlreichen Büchern, Zeitschriften und Anthologien besprochen und veröffentlicht. Der British Guardian bezeichnete Ostojić kürzlich als eine der 25 besten Künstler des 21. Jahrhunderts und würdigte damit ihr Projekt “Looking for a Husband with EU Passport” (2000-05).

Ostojić studierte an der Universität der Künste Belgrad und der École Régionale des Beaux-Arts Nantes, während sie 2012-14 Stipendiatin an der Graduiertenschule für die Künste und Wissenschaften an der Universität der Künste Berlin war. Sie hat etliche Stipendien und Preise erhalten; ihre Performances und Ausstellungskunstwerke haben sie seit 1994 zu zahlreichen wichtigen Kunststätten und Festivals weltweit geführt. Ihre Werke sind Teil bedeutender Museumssammlungen, sie hat Vorträge, Vorlesungen, Seminare und Workshops auf wissenschaftlichen Konferenzen und an Kunsthochschulen in Europa sowie in Nord- und Südamerika gehalten. 

Ostojić ist derzeit Stipendiatin der Kulturakademie Tarabya in Istanbul (Juni-September 2021).

Über den Workshop:

Das Projekt Mis(s)placed Women?  beinhaltet das Auspacken eines Koffers, einer Plastiktüte, einer Handtasche oder eines ähnlichen Objekts im öffentlichen Raum, wobei diese Objekte für das Thema Vertreibung stehen, das in den alltäglichen Erfahrungen von Transitreisenden, Migrant:innen, Obdachlosen, Kriegs- und Katastrophenflüchtigen vorkommt. Der Workshop zielt darauf ab, die Teilnehmenden mit den Themen vertraut zu machen und Diskussionen und Interventionen in der Vielfalt des öffentlichen Raums anzuregen.

Der erste Teil des Workshops umfasst ein Kennenlernen, Informieren und Kommunizieren, wobei sich die Teilnehmenden über individuelle Erfahrungen und die Ziele des Projekts austauschen sollen.

Während des zweiten Teils werden die Teilnehmenden ermutigt und dabei unterstützt, Live-Performances und Interventionen in den Straßen, Parks und Bahnhöfen Istanbuls zu verwirklichen. Die öffentlichen Performances und der Workshopverlauf werden von einem professionellen Foto- und Videoteam dokumentiert.

Die Ergebnisse des Workshops werden zwei wochen später im Beykoz-Kundura Cinema der Öffentlichkeit vorgestellt. Alle Teilnehmenden des Workshops sind herzlich eingeladen, sich aktiv an dieser Präsentation und der anschließenden Diskussion zu beteiligen.

Die Dokumentation, die Aufzeichnungen, die gesammelten Texte und die Reflexionen des Workshops werden von Performistanbul zusammengetragen und später bearbeitet, übersetzt und auf der Webseite des Projekts Mis(s)placed Women? veröffentlicht und werden Teil des Projektarchivs, das dem Publikum über Ausstellungen zugänglich gemacht wird. 

Wie Sie sich bewerben können:

Wir bitten Teilnehmende zu gewährleisten, dass sie an allen Terminen des Workshops und der Dokumentation anwesend sein können. Wir freuen uns auch über Interessent:innen mit jeglicher Art von Beeinträchtigung. Bitte geben Sie in Ihrer Bewerbung etwaige besondere Anforderungen an.

Die Veranstaltung ist kostenlos, jedoch bitten wir interessierte Personen, sich zu bewerben, da die Anzahl der Plätze begrenzt ist. Bewerber:innen werden gebeten, das Bewerbungsformular auszufüllen oder eine E-Mail mit einem kurzen Abschnitt über ihre Motivation und ihren Lebenslauf an misplacedwomen@performistanbul.org zu senden. Gerne können Sie einen Link zu Ihrer persönlichen Homepage hinzufügen, falls vorhanden, sowie Angaben zu Ihren Kontaktdaten.

Termine des Workshops im Überblick: 

Workshop: Dienstag bis Donnerstag, 7. bis 9. September. Von 11:00 bis 17:00 Uhr (inklusive Pausen) in verschiedenen Vierteln Istanbuls.

Besprechung der Ergebnisse des Workshops und öffentliche Präsentation: Samstag, 25. September, 17:30 Uhr

Die Bewerbungsfrist endet am Dienstag, den 31. August 2021.

Die Bewerber:innen werden bis spätestens 6. September benachrichtigt.

Weiterführende Links:

Misplaced Women? Project

Misplaced Women? Video Channel

Tanja Ostojić, Bücher

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

Für jegliche Anfragen wenden Sie sich bitte an: misplacedwomen@performistanbul.org

Open Call for Participants: Tanja Ostojić’s Mis(s)placed Women? Performance Workshop in the Public Spaces of Istanbul

In Istanbul, News, Workshops on August 10, 2021 at 12:59 pm

(Click and follow the link for Türk/ Turkish / German /Deutsch )

This is the Open Call for the participants in the Mis(s)placed Women? 4-days-long, free of charge, performance art workshop in the variety of public spaces in Istanbul, with Tanja Ostojić, September 7–9, 2021, organised by international performance art platform Performistanbul in collaboration with Tarabya Cultural Academy, followed by a public presentation in the Beykoz Kundura Cinema on Saturday, September 25. The workshop is taking place during Ostojić’s residency in Tarabya and is exploring Live Art practices and methodologies in relation to the individual experiences of displacement in the the broader sense. The deadline for applications is Tuesday, August 31, 2021.

Mis(s)placed 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 diverse backgrounds. Within this project we embody and enact some of everyday life’s activities that thematize displacement, as it is known to transients, migrants, war and disaster refugees, as well as gender queer, homeless, victims of family violence… and to the itinerant artists travelling the world to earn their living. Those performances continue 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.

Participants of all backgrounds, ages, genders and levels of experience that can commit to participate for the entire duration of the workshop are welcome. 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 experiences and issues of migration, marginalisation, displacement, exposure and privilege and to enact some of the Misplaced Women? Performance Scores… The workshop is free of charge, refreshments and a light meal will be provided, professional photo and video 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 English language; let us know in case you need translation or have any special needs so that we try to provide translation, for example, for visually impaired persons, or sign language for hearing impaired participants, etc…

During the workshop and the presentation all hygienic measures against the spread of  Coronavirus will be respected. All participants will have an opportunity to perform in the public spaces, to write and exchange about it, and outcomes will be presented to the public in the form of a public talk along with visuals, and included on the Misplaced Women? project blog and the project’s archive.

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

Timetable:

Workshop: Tuesday, Wednesday and Thursday, September 7-9. From 11:00 am—5:00 pm (including breaks ) The first meeting and introduction session will take place in Performistanbul’s building situated in Galata, the rest of the workshop and performances will take place in different neighbourhoods of Istanbul.

Talk about the workshop results with the participants & the public will take place on Saturday, September 25, 5:30 pm in Beykoz Kundura Cinema.

The deadline for application is Tuesday, August 31, 2021.

Applicants will be notified by September 6 at the latest.

About the artist and workshop  leader:

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

Tanja Ostojić (*1972) is a renowned Berlin based, Yugoslavian born performance and interdisciplinary artist who also works in the fields of research and education. She is internationally known as a pioneer of institutional gender critique and socially and politically engaged feminist art in the public space, especially related to migration and gender issues. Her artworks have a high level of theoretical reference and have been analysed and included in numerous books, journals and anthologies. The British Guardian recently named Ostojić one of the 25 best artists of the 21st century for her project “Looking for a Husband with EU Passport” (2000-05).

Ostojić studied at the University of Arts Belgrade and the École Regionale des Beaux-Arts Nantes, while in 2012-14 she was a fellow at the Graduate School for the Arts and Sciences at the Berlin University of the Arts. She has received various grants and awards; her performances and exhibition art works have taken her since 1994 to numerous important art venues and festivals worldwide. Her works are part of important Museum collections, she has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas. 

Ostojić is currently a fellow of the Tarabya Cultural Academy in Istanbul (June-September 2021).

Score #2: Holding the Misplaced Women? Sign: Taxi driver holding the Misplaced Women? sign on the Istanbul International Airport.
June 1, 2021. Photo: Tanja Ostojić 

About the workshop:

The Mis(s)placed Women? project involves, for example, 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 and persons escaping home because of domestic violence. 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 stations of Istanbul. Public performances and the workshop process will be documented by a professional photograph and video team.

The outcomes of the workshop will be presented to the public, two weeks later in the Beykoz Kundura Cinema. All participants of the workshop are invited to take active part in this presentation and the following discussion.

The documentation, notes, written texts and reflections from the workshop will be gathered by Performistanbul, and later edited, translated and published on the Mis(s)placed Women? project website, Misplaced Women? Video Channel and will be included in the Misplaced Women? Project Archive that is regularly exhibited and in such way accessible to the public.

How to apply: 

Participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop are welcome. We welcome people with any kind of special needs. 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 before the end of August. Applicants are kindly asked to complete the application form or to send an email to misplacedwomen@performistanbul.org  with 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.

For all inquiries, please contact: misplacedwomen@performistanbul.org

Overview of the dates: 

Workshop: Tuesday-Thursday, September 7-9,2021, 11:00 am—5:00 pm, in different neighbourhoods in Istanbul.

Talk about the workshop process & the public presentation: Saturday, September 25, 5:30 pm

The deadline for applications: Tuesday, August 31, 2021.

All applicants will be notified by September 6 at the latest.


Additional links:

Misplaced Women? project

Misplaced Women? Video Channel

Tanja Ostojić, books

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

For all inquiries, please contact: misplacedwomen@performistanbul.org

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

———————————————————

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 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

A day with Tanja Ostojić

In Performances, Stories, Train Station, Workshops, Zürich on March 6, 2021 at 9:09 pm

[Please read the original text in Sorani Kurdish language below]

[Translation to English]

A day with Tanja Ostojić

My name is Azad. I am a political refugee. I had to come to Switzerland from Kurdistan, with everything left behind. The land where I was born is a prohibited geography. Our language, culture, literature and art are forbidden.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

As someone who lived through all these bans, I met Tanja Ostojić one day. My view of art and performance has changed because of the experience with her Misplaced Woman? performance project. Ostojić broke all the narrow moulds on which women were placed, taking them out of an object position and giving them a completely different breath. It had revealed an important contradiction. She sent a message to the male dominated society which misplaces women in every sphere of life.

We all opened our bags and suitcases that day. Because capitalism first chains people with a bag. Then it squeezes our lives into it. It’s like we can’t live without that bag. All of our belongings are in it. This created awareness of humanity’s dependence on material things.

There are taboos in all societies. Why is there a fountain in the main train station of Zurich, decorated with blue light, which resembles a waterfall? The fountain is a taboo. Nobody should touch it. But there are no taboos for Ostojić. She stood under the water with her umbrella. She looked at shoe brands in the store and inspected them.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

That day we made a performance under the blue waterfall. I felt very free. I stood under the pouring water with my umbrella. I was very excited. I loved to be able to stand below the water because it was a socially forbidden place and therefore it seemed attractive to me. I was wet but it felt good.

We went to a shoe store. I even looked at the brands of shoes in the shop there. Together with the others of the group I was reading aloud where the shoes had been produced. We lifted the bottom of each shoe and read their place of production and mostly they were made in China, China, China. Then Ostojić gave the shoe seller an advertisement for a family poster. Me and some others followed her lead. 

We unpacked our suitcases.  All our luggage was gone.

With Misplaced Woman? Ostojić creates different images of women by opening up new possibilities, new spaces. It is not a woman in a kitchen, not a woman in the bedroom, but a woman imagining a blue sky.
A woman is not an item, which would fit in a suitcase.

Finally, I would like to conclude with the words of Simon de Beauvoir: “Suddenly in the kitchen, where her mother is washing dishes, the little girl realises that over the years, every afternoon at the same time, these hands have plunged into greasy water and wiped the china with a rough dish towel. And until death they will be subjected to these rites. Eat, sleep, clean … the years no longer reach toward the sky, they spread out identical and grey as a horizontal tablecloth; every day looks like the previous one; the present is eternal, useless, and hopeless.” Beauvoir asked herself if she will be able to live like that while placing the plates in the closet, and she said to herself, ‘no’. 

Tanja Ostojić taught us to say “No” to the male dominated, capitalist world.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

Yours truly,

Azad Colemêrg

July 11, 2019.


Azad Colemêrg is currently studying cinematography at the University of Zurich. He was born in 1988 in Kurdistan, near Colemêrg, in the very east of Turkey. Azad Colemêrg has been based in Switzerland since 2018 where he received a status of a political refugee in 2019. Before he had to flee the country, he had been working as a school teacher in Kurdistan and in Turkey.

Read more about Azad’s life

Performance intervention by Azad Colemêrg on April 4, 2019. has been realised in the frame of “Misplaced Women?” workshop by Tanja Ostojić at the ZhDK, Zürcher Hochschule der Künste, in Zurich, April 2-4, 2019. 

Text written by Azad Colemêrg on July 11, 2019.

Edited by Tanja Ostojić and Olivia Jaques

Published for the first time by Tanja Ostojić on the Misplaced Women? blog

Video-stills by contact zone (Andri Schatz, Azad Colemêrg, Demian Jakob, Irem Gungez, Jan Stolze, Livia Thommen, Mercedes Borgunska, Olivia Jaques, Santiago Pina, Severin Hallauer, Zoe Wagner)

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

Rojek bi Tanja Ostojić re

Navê min Azad e. Ez penaberek siyasî me. Ez ji Kurdistanê, kû her tiştên wî qedexe kirine, hatime Swîsrêyê. Axa ku ez lê ji dayik bûm welatekê qedexe ye. Ziman, çand, wêje û hunera me qedexe ye.

Ligel wan qedexên min dîtiyan da rojekê min Tanja Ostojić nas kir. Nêrîna min a huner û performansê de guheriye. Ji ber ku Ostojić performansa navê xwe „Misplaced Woman?“ da hemî qalibên teng ên ku jin tê da hatibû danîn, şikand û wan ji objeyekî da derxist û jiyanekî nû dida. Bal kişandi bû ser dubendiyek girîng. Wê peyamek dabû wan mirovên kû ewên jina li jiyanê da her dem cihekî xelet da dibînin.

Me hemûyan wê rojê  çente û valîzên xwe vekirin. Ji ber ku kapîtalîzm pêşî mirovan bi çente zincîr dike û paşê jî jiyana me dike wê çentê da. Wek ku em bê wê nikarin bijîn. Her tiştê me tê de ye. Wê agahdariyek dida mirovan ku jîyana me girêdayî objeya ye.

Di hemû civakan de tabû hene. Çima li rawesteka bajêr da ku wek sûlav bi rengek şîn da avek çêkirine? Ji ber ku ew tabû ye. Kes nikare destê xwe lê bide. Lê ji bo Ostojić tabû tine. Ew  bi sîwanê xwe ve binê avê de sekinî. Wî li firoşgehek cilûbergan li marqeyên pêlavan dinêrî û dixand.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

Ez bi sîwanê ve binê avê de rawestiyam. Wê rojê em bin sûlava şînda rawesteke da sekînîn. Min xwe gelek azadî hesiya. Ez gelek coş bûm. Min hez dikir kû ez bêcil bin avêda bisekinim. Lewre cihekî qedexe bû û ji ber wê ji min ra şêrîn dihat. Ez ter û av bûm , lê belê hêsekî xweş bû. Min li pêlavfiroşek da li marqeyên pêlavan dinêrî û me ligel yên din marqên pêlavan dixand kû kîderê berkêşandin e. Em çûne cihekî pêlavfiroş. Mê binê pêlava ra mezinand û marqe wan dixwandin û me digot marqê çînê çînê çînê çînê Paşê jî wê pêlavfiroş da reklamekî da posterekî malbatekî hebû. Me jî wan teqlit kir. Em wek wan sekînîn.

Me çentên xwe xalî kirin. Çi tiştên veşartî li çentê ne man. Her tiştên me holê ra bûn .

Ostojić li performansa xwe yan „Misplaced Woman“ da jinên kû mitfaxê û cihê razanê da derxist û xewnekî bi asmana şîn dida wan. Jin ne ewe ku li çenteyekî da cih bigire.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

Di dawiyê de, ez dixwazim bi gotinên Simon de Beauvoir biqedînim: „Rojek min alîkariya firaxên dayika xwe dikir. Diya min tebex dişûştin, min ziwa dikir. Ji pacerêya mitbaxê, cihên agirkûj û mitbaxên xaniyên din xuya dibûn. Li van mitbaxan jî, jinên din tawe firkandin , qûşxane spahî dikirin, sewzî vebijartin. Her roj xwarina firavîn, xwarina şîv, her roj firax; her roj paqijkirin; Ew karê çinehî bi saetan dirêj dibûji çinebûnê pê ve bêdawîtiya ku nagihîje tu derê. Ji çinebûnê pê ve jî bêarmancekî bêdawîtibû. Gelo ez ê karibim wusa bijîm?  Wek min tebex li dolavê cih digirt, min go te xwe  „Na“ Jiyana min bê guman dê bigihîje cihekî.”

Tanja Ostojić fêrî me kir ku em ji cîhana serdest a mêr û jiyana kapîtalîst re „Na“ dibêjin.

Silav û rêz

Azad Colemêrg

11 Tîrmeh 2019

Azad Colemêrg niha li Zanîngeha Zûrixê sinematografiyê dixwîne. Ew ji 1988an li Kurdistanê, bajarê Colemêrg ê, li rojhilatê Tirkiyê ji dayik bû. Piştî ku xwendina xwe qedand li Kurdistanê û Tirkiyê Mamosteyê dibistanê xebitî. Piştî hingê neçar ma ku ji welêt derkeve. Ew ji 2018an ve li Swîsreyê dijî, 2019an de statuya penaberiya siyasî stend.

Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Videostill: contact zone

Body Measuring and Dying Oranges

In Berlin, Performances, Railway-stations, Train Station, Workshops on March 3, 2021 at 10:55 pm

Body Measuring and Dying Oranges Chess Play

Performance by: Evdoxia Stafylaraki and Jiachen Xu

Locations: S-Bahn stations Prenzlauer Allee and Ostkreuz, Berlin, January 23, 2018.

Text by: Evdoxia Stafylaraki

During my stay in Berlin, I had the opportunity to participate in the “Misplaced Women?” project by Tanja Ostojić. So, I made a performance with Alice (Jiachen Xu), posing questions about the rules set by society, and the women’s position in it in the course of time. Thus, the core concept of that performance was the diachronic nature of social inequalities, and the marginalisation of women in every aspect of life.

“Body Measuring and Dying Oranges Chess Play” by: Evdoxia Stafylaraki & Jiachen Xu, “Misplaced Women?” workshop by Tanja Ostojić, Ostkreuz Berlin, 2018.

That lack of women’s freedom that exists by tradition and the tight boundaries of a woman’s existence were presented through a ‘self- confinement’ act, by letting myself being tied up to a public clock pole with a tape measure, a strict metric system wrapping me ritualistically.

Alice’s proposal to develope this performance together with me, within the Ostojić’s Misplaced project context was the complement of the paradox I wanted to express. It should be noted that kitchen space is a space traditionally intended for the women as nurturers, housekeepers, and housewives; and Alice selected a placemat from that space to be the chess board that would bear some half-dead tangerines. Laying the tablecloth on the external social space, we set up the chess board, and the game started or rather kept evolving. A game, which none of us understands, a game with no justice, a game that is simply still being played beyond all reason.

Suddenly, a security guard interrupted the performance and demended that we leave the place. We tried to understand the reason for that in vain though; some passers-by translated the guard’s words for us, explaining that we should have been able to speak German since we were in Germany. Was it that we were both coming from a foreign country? Or was it that we were merely women? Or was it the combination of both that made him react so rudely? That’s a rhetorical question. His interference actually confirmed the term ‘misplaced women’ not only in words, but also in practice…

“Body Measuring and Dying Oranges Chess Play” Performance by Evdoxia Stafylaraki and Jiachen, “Misplaced Women?” Workshop by Tanja Ostojić, Berlin, Ostkreuz, 2018. Photo: Hoang Tran Hieu Hanh

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Video-recording: Nati Canto, Hoang Tran Hieu Hanh

Video-editing: Evdoxia Stafylaraki

Text edited and first published by Tanja Ostojić, March 3, 2021 on the Misplaced Women? project blog

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Evdoxia Stafylaraki is a mathematician, sculptor and performance artist from Chania, Greece. 

Jiachen completed a joint master degree in women’s and gender studies in Central European University in Budapest, Hungary and University of Oviedo, Spain. She is now based in Beijing, China.

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Please see more photos and read Jiachen’s review of this very performance published on the Misplaced Women? Blog in February 2019 

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Please visit as well archive of earlier contributions and posts from Berlin, from workshops, individual and group performances: 2009-2021:

Contribution by Nati Canto 

Contribution by Rhea Ramjohn

Contribution by Mad Kate

Mapping around Kunsthalle am Hamburger Platz

Contribution by Katja Vaghi

Contribution by LADY GABY

Contribution by: Susan Merrick 

Contribution by Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by: Luciana Damiani 

Our Lady of Auguststraße by Tanja Ostojić

Contribution by Tanja Ostojić: Berlin, TXL Airport and Valentina Medda: Misplaced Women?, Performa New York, 2009. Simultanious delegated performance with the one by Tanja Ostojic, at Berlin TXL airport.

Public Presentation of the Misplaced Women? Workshop, Berlin, January 2018

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