MisplacedWomen?

Posts Tagged ‘#artinpublicspace’

Routine by Mia Bradić

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

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

[Translation to Croatian is below]

Routine

Contribution by Mia Bradić

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

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

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

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

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

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

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

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

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

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

About the contributor:

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

Text written in English and translated to Croatian by Mia Bradić

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

Photos: Tanja Ostojić 

Video recording & editing: Andrea Resner

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

Organised by Culture Hub Croatia in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

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

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Please see other posts from Split and this workshop:

Misplaced Latina? by Alejandra Robles Sosa

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

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

[HR PRIJEVOD]

Mia Bradić (miacircus)

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

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

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

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

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

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

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

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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