MisplacedWomen?

Posts Tagged ‘Misplaced Women Sign’

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.

Elena Marchevska holding the “Misplaced Women?” Sign at Heathrow Airport London, December 12, 2016.

In Airports, London, Signs, Stories on February 11, 2017 at 5:39 pm

Hospitality in times of displacement

It is a cold, grey December morning and I am on my way to pick up Tanja Ostojić from Heathrow airport. I am traveling on the Piccadilly line, half empty carriage, thinking about London and me. It wasn’t love at first sight, that is for sure. The first time I visited London was in 2005, just one week before 7/7, to do a performance as part of the exhibition Insomnia, an exhibition about experience of refugees and displaced individuals. It was a hot July week, the streets were filthy. Everywhere was incredibly busy and I felt that the city was a bit too much for me… I left relieved to be off to tour a show in rural France for three months and didn’t really think about coming back.

However, here I am, 12 years later, in London, again looking at displacement, at stories of migration and misplacement. This is a very critical and important moment for the UK, Europe and the world. Six months have passed since the Brexit vote, Trump has been elected as president of the USA and the world is a very hostile, inhospitable place for people on the move. Heathrow is flashy, clean, perfect, a haven for shoppers and travellers. I feel profoundly misplaced, leaning on the metal rail between taxi drivers and company chauffeurs, holding a handmade sign saying ‘Misplaced Women?’. Not a personal name on my sign, not a company logo, just a question. Do I wait for someone to come, or do I wait for my situation to be resolved?

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Elena Marchevska holding the “Misplaced Women?” sign at Heathrow Airport London, December 12, 2016. Photo: Tanja Ostojc

When I was developing the concept for my residency with Live Art Development Agency, my thoughts were constantly with the people in flux, those who were crossing or waiting at borders for days, sometimes months. Vivid memories of my childhood in war-torn Yugoslavia emerged. I remembered my school friends who were refugees from Sarajevo; my work in refugee camps during the Kosovo crisis; the lines for bread and milk; cars left without petrol in the middle of the road. More than 20 years has passed, but my body clearly remembers the fear, and at the same time the braveness, the openness to share, to give, to be there for one another. Many people opened their homes to refugees and family displaced due to war, despite being impoverished and affected by the war themselves.

It is important to discuss displacement along hospitality. Derrida introduces hospitality as a radical concept that offers alternative ways to treat others. His central argument is based on the ‘aporia of hospitality’, which, according to Derrida, has two main elements: one of owning and being empowered by that ownership, and another of giving ownership away and being vulnerable. I thought that it would be an important part of my research and creative journey to host an artist, someone with a similar history to myself, and to open a creative dialogue about hospitality and displacement. Tanja Ostojic’s project ‘Misplaced Women?’ was a natural choice.

The project works with the Derrida’s aporia. Tanja hosts a safe space that allows her workshop participants to open up and share their experiences. It also requires that they present their ideas immediately, by performing them in a public space. This brings us back to Derrida’s discussion of the etymology of the term ‘hospitality’, which is related to hostility, since the root hospes is allied to the root hostis, which interestingly means both ‘stranger’ and ‘enemy’. Thus, hospitality, as in hostilis (stranger/enemy) + potes (having power), originally meant the power that the host has over the stranger/enemy. And indeed we see the hospitality of Western European societies being defined by imposing power over the ‘strangers’, defining them by impossible standards, borders are re-erected, walls are rebuild, communities are ostracised.

According to Irina Arishtarkova, hospitality is a radical relation, especially when compared with tolerance: it provides a framework to account for the treatment of others with limitless attention and expectation, and it entails an active gesture of welcoming, greeting, sheltering, and in many cases, nourishing. Tanja Ostojić operates within this framework, opening a hospitable space during her performance workshops.  Participants are welcomed and guided, acknowledged and their ideas are nourished. Anecdotes are shared, objects are transformed, pictures are circulated. During the two days of the workshop, I felt that we tapped into each other’s experiences of displacement and loss. Hospitality became performative, it was about slow decision making, about the labour of hosting others, and the handling of unexpected outcomes. There was a willingness to contain and to produce space for the Other out of one’s own flesh and blood, we all walked together by the canal, performers and audience at the same time. The days melted into one long discussion about what displacement means today. For me, the small acts of hope and care that each participant made created a ripple strong enough to go beyond the current climate of hostility.

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Bibliography:

ARISTARKHOVA, I. (2012). Hospitality of the matrix: philosophy, biomedicine, and culture. New York, Columbia University Press.

DERRIDA, J., & DUFOURMANTELLE, A. (2000). Of hospitality. Stanford, Calif, Stanford University Press.

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Elana Marchevska is London Based Artist and educator of Macedonian origin.

http://www.thisisliveart.co.uk/opportunities/open-call-for-participants-for-misplaced-women-workshop

http://www.thisisliveart.co.uk/whats-on/misplaced-women/

Misplaced Women? Sign at Vilnius International Airport, Lithuania, November 4, 2016.

In Airports, Signs, Vilnius on February 11, 2017 at 4:48 pm

I landed to the International Airport, Lithuania, from Graz, with a connecting flight in Vienna, for the Unthinkable Nomos conference http://unthinkable.site  that took place at the National Gallery of Art in Vilnius from November 5 to 6, 2016. I was welcomed with a beautiful Misplaced Women? banner produced by Monika Janulevičiūtė, young Lithuanian designer herself. For the Misplaced Women? project blog she wrote the following:

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Monika Janulevičiūtė holding the “Misplaced Women?” Sign at Vilnius International Airport, Lithuania, November 4, 2016. Photo: Tanja Ostojić

12:52 Violently digging down into my bag. It has dark lining and no compartments. Rarely ever easy find things there; everything fits, though. Remembering the order or the sides of putting the thing in sometimes help — I finally reach for the zip lock bag with the folded flag. I assume it should be time. A short glimpse at the phone screen. I nod to my friend P. and I jump out of his car, parked in front of the exit of the Arrival Hall.

12:53 The Arrival Hall felt hollow, and November winds got into it quickly making no difference from outside. One couldn’t say if people already left the flight BT5132 or they just waited for baggage. An older man on the left, a younger one nervously rushes through, some calls and the echo of announcements. I spread the piece of fabric of a trench coat before me, rustling, soft to the touch, almost sticky.

A nude flag in the middle of the cube-like hall with its gypsum panelled ceiling separated by wire mesh, trapping pigeons and one helium balloon in mid-air. Unfolding it felt like making a bed or preparing to camp against the grey stone making a solid fundament for the white Corinthian columns and moulded balconies. I think I never stood behind a banner. T-shirts with statements don’t count.

12:55 I’m on time and at the right place but while holding a flag with big Misplaced Women? and become hesitant to state such clear comment on my position. I feel like a translation, or a sign behind one unwillingly shows their skills and habits of holding a life together, covered by rigid canvases, few zippers or belts here and there. The alternative ways of wrapping the unwanted gift of the outrage. Here the temperature drops by one degree Celsius for each memory carried in. The supervision uncloaks her machinery of vigilance. A barren and gated life, flash floods, landslides, fluctuations of the foreign currency exchange values. It hatches whole new sets of catastrophes, not by just a mere proposal of such actualities, but they are cases formulated and born in the accounts with detailed financial expenditures. One can easily measure the ripeness by the amount of industrial rubber or splatter on jet-fuel engines. It will taste like being kicked in the stomach.

Misplaced Women? Sign at Graz Airport, Styria Austria, November 2 2016.

In Airports, Graz, Signs on February 11, 2017 at 2:50 pm

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Edith Risse holding the “Misplaced Women?” Sign at Graz Airport, Styria Austria, November 2, 2016. Photo: Jogi Hofmüller

I landed to Graz around 2.20pm on November 2 2016 with direct Airberlin flight from Berlin Tegel in order to take part in the symposium: MENSCHENRECHTE wörtlich nehmen / HUMAN RIGHTS literally today, that was taking place from November 3 to 4, 2016 at Volksgartenpavillon, Graz: http://mrwn.at

The kind welcoming comity consisted of two of the organisers of the conference including Edith Risse and Jogi Hofmüller. As I kindly asked her, Edith Risse was holding the sign. And so we immediately smiled to each other as the result of recognition.

Jogi Hofmüller noted down for me his observations as well:

As a bystander to the action I can say that to my great surprise the majority of the people passing by seemed not to notice Edith standing there and holding the sign saying “Misplaced Women?”. But then again, Graz airport is not a very crowded place, so over all I guess there were not more than 20 people in the airport while we were standing there. 

Once people arriving with you on the plane started to pass through customs the situation changed slightly. The newly arrived ones of course were looking around, in search of taxis, people that came to pick them up or just to orient themselves. Still, I cannot recall anything special regarding reactions to the sign. I just remember seeing you pass this gate and once you saw the sign your face burst into a big smile 🙂

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Edith Risse holding the Misplaced Women? Sign at Graz Airport, Styria Austria, November 2 2016. Photo: Tanja Ostojic

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Edith Risse is a free lance curator and cultural producer based in Graz. Since 2013 she is a head of the Arts & Culture working group of the parliament of land Styria.

Jogi Hofmüller is media artist based in Graz. He is co-founder of Radio Helsinki and mur.at. Member of 42. Running Plagiat and institut hofos together with Reni Hofmüller.

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Edith Risse and Jogi Hofmüller, Misplaced Women? Sign at Graz Airport. Photo: Tanja Ostojic

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