MisplacedWomen?

Posts Tagged ‘Misplaced Women?’

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

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

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

 

On Friday, May 4, 2018:

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

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

 

 

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

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

 

 

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

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

 

 

On Saturday, May 5, 2018:

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

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

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

 

 

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

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

 

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

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

 

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

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

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Photos: Daniel Jarosch

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

The Misplaced Women? Project Blog: 

Category: Innsbruck

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

Die Bäckerei (online and printed program):

Tiroler Tageszeitung 12.5.2018.

SeeCult cultural portal 13.5.2018:

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

 

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Score #2: Holding the Misplaced Women? Sign

In Scores, Signs on May 10, 2018 at 9:16 pm

Tanja Ostojić: 

Misplaced Women? 

(ongoing since 2009)

delegated performance

Score #2:  Holding the Misplaced Women? Sign

Less then hour, no, or with preparation, one or more performers

Instruction: 

1. Select a migration specific place that resonates to you 

2. Make your own MISPLACED WOMEN? (or MISPLACED MAN?) Sign or a banner (on a cardboard, on a piece of paper, on some cloth. It can be a drawing or an embroidery or even a collage). 

3. Stand there and hold it for at least half-an-hour. 

4. Ask someone to take a photo of you standing there. 

5. You can do the same action at the variety of places and see how different it is being perceived at different times and locations. In such case you might draw a map of locations you performed at. 

Note: 

Reflect a pone how does it feel to hold the sign, how does it resonates with you, with your life experience, how the location you have chosen pulsates, and does it bring you closer to the people on the move, on the street, etc. Be open to talk to passing by people about the sign you are holding and the related issues and to what they have to say about it. 

 

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Misplaced Women sign Photo: Amy Bryzgel

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On October 12 2016, Bojana Videkanić holding the “Misplaced Women?” sign on the Pearson International Airport in Toronto and diving into her profoundly touching memories about her initiation into the life of a refugee escaping Sarajevo siege in 1992 and her and her family life as refuges in the UK, Croatia and Canada. Photo: Tanja Ostojić

 

Publishing:

Send a photo or a drawing of yourself holding the sing, the description about how did it go (your name, date, time, duration, location and what happened) and the related written reflections and overview of dialogues that might habe occurred. Please let us know if you would like that your contribution is published on the “Misplaced Women?” project blog.

  We would greatly appreciate your permission to publish it.

Score #1: unpacking a bag of your own

In Scores on March 15, 2018 at 3:39 pm

Tanja Ostojić:  MISPLACED WOMEN? (ongoing since 2009)

delegated performance

Score #1: unpacking a bag of your own

More or less then one hour, with or without preparation, one or  more performers, migration specific locations 

About:

Misplaced Women? is an art project that welcomes contributions by people from divers backgrounds that embody and enact some of everyday life activities that signify a displacement. Participants are invited to perform and reflect a pone different notions of traveling, identity, illegality, homelessness, security, privat space/ public space, and to share there experiences on the project blog.

Instruction: 

1. Select a migration specific place that resonates to you (public transportation, central bus station, airport, border, aria affected with gentrification..)

2. Get there and unpack a bag of your own (such as your own purse or back pack or a bag with empty plastic bags, or packaging from consumers articles..).

3. Take every single idem out and turn it inside out. Take all out of your pockets. Turn your pockets inside out. Take your shoes off. Ones you unpacked all, search to see if you discover something.

4. For advanced and additionally motivated: You can do the same action at a variety of places and see how different it is being perceived at different times and locations. In such a case, draw a map of where you have performed.

Note: 

Reflect a pone how does it feel to do this in public. Do you feel exposed? How does it resonates with your life experience, and does it bring you closer to the people on the move, people on the street, etc.. Be open to talk to passing by people about what you actually do and why. Let this performance last for at least half-an-hour. If you have unpacked your things in a hectic way, after “a brake” and exchange, try to pack items back with appreciation and care. (Or the other way around, right?)

Attention:

Places that are generally understood as public spaces might appear not to be such. That means that with your performance you might challenge the notion of public space, and see where it is (not) possible to do your action. A security guy might push you one meter away from the entrance (in a shopping mall or what many train stations also became now a days, right?) Or policeman might ask you –What are you doing?. I could only advice you to get one person with you to try to talk the security out, so that you can finish your performance. You may also say that you are looking for an item of your own that you really need but you are not sure if you took it with you. (What ever that might be, right?) This is to avoid being kicked out, arrested or so.., as performing and filming is usually not allowed at most places.

Crediting and Publishing: 

It is very important to credit everyone properly. With the “Misplaced Women?” project we pay special attention to that. Please be sure to fully credit your action as:

_____your name:  a performance in response to the “MISPLACED WOMEN?” (ongoing since 2009), delegated performance by Tanja Ostojić, “Score 1”… — where every you share it or print it. And we will do the same with your contribution. Send a photo or a drawing of yourself performing, the description about how did it go (your name, date, time, duration, location(s) and notes about what happened). Please let us know if you would like that your contribution is published on the project blog: We would greatly appreciate your permission to do so.

 

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 Tanja Ostojic: Misplaced Women?
Performed by Tanja Ostojic at Bergen International Airport, 2011. Photo: Jannicke Olsen

Offene Ausschreibung zur Teilnahme an der “Misplaced Women?” Performance-Kunst-Werkstatt im öffentlichen Raum mit Tanja Ostojić vom 11–13 Mai 2018 in Innsbruck mit einer Aufführung in Die Bäckerei

In Innsbruck, News, Workshops on February 19, 2018 at 4:57 pm

Dies ist eine offene Ausschreibung zur Teilnahme am dreitägigen Misplaced Women? Performance-Kunst-Workshop im öffentlichen Raum mit Tanja Ostojić, welche vom 11.–13. Mai 2018 mit einer öffentlichen Aufführung in Die Bäckerei, Kulturbackstube, in Innsbruck, Österreich stattfindet.

Teilnehmer_innen jeglichen Alters, Hintergrunds, Geschlechts und Erfahrungsniveaus, die sich für die gesamte Dauer der Werkstatt zur Teilnahme verpflichten können, sind herzlich willkommen. Wir ermutigen besonders Bewerber_innen, die sich für das Themenfeld Migration, für Performance-Kunst, für die Belange jener, die sich als Frauen identifizieren und die sich für die Repräsentation von Geschlecht und Kunst im öffentlichen Raum interessieren. Die Bewerber_innen sind dazu eingeladen und ermutigt, Erfahrungen zu teilen und auszutauschen, welche die Themen Migration, Vertreibung, Gefährdung und Privileg betreffen sowie dazu, einige der Misplaced Women? Performances-Scores aufzuführen. Der Workshop ist kostenfrei. Warme Getränke und Snacks sowie eine professionelle fotografische Dokumentation der Teilnehmer_innen werden bereitgestellt. Aufgrund der begrenzten Zahl von Teilnehmer_innen bitten wir um eine Bewerbung.

Bewerbungsfrist: Montag, der 16. April 2018.

In Rahmen des Workshops werden wir die Möglichkeit haben, performative Interventionen in öffentlichen Räumen zu realisieren. Die Resultate des Workshops werden am dritten Tag in Die Bäckerei, Kulturbackstube, der Öffentlichkeit präsentiert und auf der Webseite des Misplaced Women? Projekts veröffentlicht.

Dieses Projekt, einschließlich der Werkstatt, der Gruppen- und individuellen Performances im öffentlichen Raum, wurde im Kontext der Förderaktion Kunst im öffentlichen Raum des Landes Tirol ausgewählt. Die Medien- und Pressearbeit erfolgt in Zusammenarbeit mit der Tiroler Künstler*schaft.

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Participants of the “Misplaced Women?” performance workshop by Tanja Ostojić, hosted by the Aberdeen Festival of Politics 2016 and the Torry Community Center. Photo: Amy Bryzgel

Bei Interesse können Sie im Folgenden noch weitere Details zum Workshop und zur Bewerbung finden.

ENGLISH VERSION 

Über das Projekt:

Misplaced Women? ist ein Kunstprojekt von Tanja Ostojić bestehend aus Performances, Performance-Serien, Werkstätten und delegierten Performances, das seit 2009 läuft und Beiträge internationaler Künstler_innen, Student_innen, und Menschen mit verschiedenen Hintergründen beinhaltet. Im Kontext des Projekts verkörpern und inszenieren wir einige der alltäglichen Aspekte, welche Formen der Vertreibung charakterisieren, die Durchreisenden, Migrant_innen, Kriegs- und Katastrophenflüchtlingen ebenso vertraut sind wie nomadischen Künstler_innen, die um die Welt reisen, um ihren Lebensunterhalt zu verdienen. Diese Performances behandeln bleibende Themen von Migrations- und Machtbeziehungen, wie sie den mobilen, vor allem den weiblichen Körper betreffen, ein Aspekt, der bereits in diversen früheren Arbeiten von mir behandelt wurde.

Über die Workshop-Leiterin: 

Tanja Ostojić (*1972) ist eine renommierte interdisziplinäre Performance-Künstlerin, die in Jugoslawien geboren wurde und seit 2003 in Berlin lebt. Ihre Werke beschäftigen sich vor allem mit Feminismus und Migrationspolitik.  Sie bezieht sich selbst als Figur in ihre Performances ein und benutzt diverse Medien in ihren künstlerischen Recherchen, um soziale Konfigurationen und Machtverhältnisse zu untersuchen. Sie arbeitet vor allem aus der Perspektive einer Migrantin – innerhalb spezifischer sozialer Kontexte –, wobei die politische Positionierung sowie die Inklusion der Betrachter_innen die Ansätze ihrer Arbeit definieren. Seit 1994 hat sie ihre Arbeiten in zahlreichen Ausstellungen, Festivals und Veranstaltungen in der ganzen Welt präsentiert. Sie hat Vorträge, Vorlesungen und Seminare gegeben sowie Workshops bei akademischen Konferenzen und in Kunstuniversitäten in Europa und Amerika abgehalten.

Über den Workshop:

Das Misplaced Women? Projekt beinhaltet das Auspacken des eigenen Koffers, einer Plastiktüte, Handtasche oder Ähnlichem im öffentlichen Raum, eine Handlung, welche für die Erfahrung der Vertreibung steht, die den Alltag von Migrant_innen, Durchreisenden, Obdachlosen sowie Kriegs- und Katastrophenflüchtlingen bestimmt. Die Werkstatt zielt darauf, die Teilnehmer_innen mit diesen Themen vertraut zu machen und zu Diskussionen und Interventionen in den unterschiedlichen öffentlichen Räumen anzuregen.

Der erste Teil der Werkstatt besteht aus einem Zusammenkommen, bei dem sich die Teilnehmer_innen über ihre individuellen Erfahrungen und die Ziele des Projekts austauschen und informieren können.

Während des zweiten Teils werden die Teilnehmer_innen dazu ermutigt und dabei unterstützt, Live-Performances und Interventionen in den Straßen und Parks von Innsbruck zu veranstalten. Die öffentlichen Performances werden professionell fotografisch dokumentiert.

Die Resultate des Workshops  werden am dritten Tag in Die Bäckerei, Kulturbackstube in Innsbruck der Öffentlichkeit präsentiert. Alle Teilnehmer_innen sind dazu eingeladen, aktiv an dieser Präsentation und der im Anschluss daran stattfindenden Diskussion teilzunehmen.

Die Dokumentation sowie die gesammelten Notizen und Reflexionen vom Workshop werden editiert und auf der Webseite des Misplaced Women? Projekts veröffentlicht.

Termine des Workshops:  Freitag, Samstag und Sonntag, 11. – 13 Mai, 2918

Wer kann sich bewerben?

Teilnehmer_innen unterschiedlichen Hintergrunds und Geschlechts, die sich für die gesamte Dauer der Werkstatt zur Teilnahme verpflichten können, sind herzlich willkommen. Besondere Sprachkenntnisse sind nicht erforderlich. Wir heißen alle Menschen mit „Behinderungen“ willkommen sowie all jene, die kein Englisch oder Deutsch sprechen. Wir bitten darum, besondere Anforderungen in der Bewerbung anzugeben.

Die Veranstaltung ist kostenfrei, doch aufgrund der begrenzten Platzzahl bitten wir die Interessent_innen um eine Bewerbung. Dazu schicken Sie bitte eine E-Mail an tanjaostojicart (AT) gmail.com mit dem Betreff: Misplaced Women? Innsbruck, und schreiben Sie einen kurzen Absatz über ihre Motivation und ihren biographischen Hintergrund.  Sie sind dazu eingeladen, ihre Kontaktinformationen hinzuzufügen oder einen Link zu ihrer persönlichen Webseite, sollten sie über eine solche verfügen.

Zusätzliche Links:

Misplaced Women? Projekt

Tanja Ostojić, Bücher

Die Bäckerei, Kulturbackstube, Dreiheiligenstraße 21a, Innsbruck, Österreich

Open Call for participants for the “Misplaced Women?” performance workshop in the public space with Tanja Ostojić, in Innsbruck, May 11-13 2018, with a presentation in Die Bäckerei

In Innsbruck, News, Workshops on February 19, 2018 at 4:31 pm

This is the Open Call for participants of the Misplaced Women? 3-day-long performance art workshop in the public space with Tanja Ostojić, May 11-13 2018, with a public presentation in Die Bäckerei, Kulturbackstube, Innsbruck, Austria

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, 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.

The deadline for applications is Monday, April 16 2018.

Timetable:

Workshop: Friday May 11: 10am—5pm & Saturday May 12, 2018: 10am—6pm.
Public presentation: Sunday May 13: 11am—1pm.

During the workshop we will all have an opportunity to perform in the public spaces, and outcomes will be presented to the public at the third day of the workshop at the Die Bäckerei, Kulturbackstube and included on the Misplaced Women? project website.

This project, including the workshop and group and individual performances in the public spaces, have been chosen for realisation in the frame of the Kunst im öffentlichen Raum des Landes Tirol, supported by the region of Tyrol. The press and media communication are done in collaboration with the Tiroler Künstlerschaft.

 

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“Misplaced Women?” performance workshop by Tanja Ostojić at Info Park, Belgrade (2015). (Group intervention, including: Tanja Ostojić, Sunčica Šido, Nela Antonović) Photo: Lidija Antonović

Deutsche Übersetzung  

Please reed about the project and see more workshop and application relevant details below:

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, students 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 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 mine.

About the workshop leader: 

Tanja Ostojić (*1972) is a renowned Berlin 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 world. 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 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 and parks of Innsbruck. Public performances will be documented by a professional photographer.

The outcomes of the workshop will be presented to the public at the third day in Die Bäckerei, Kulturbackstube in Innsbruck. 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, edited and published on the Misplaced Women? project website. 

 

Dates of the workshop:

Friday, Saturday and Sunday May 11-13, 2018.

The deadline for applications is Monday, March 19 2018.

Who can apply: 

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 Deutsch. 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 tanjaostojicart (AT) gmail.com with the subject Misplaced Women?  Innsbruck 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? project

Tanja Ostojić, books

Die Bäckerei, Kulturbackstube, Dreiheiligenstraße 21a, Innsbruck, Austria

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

The Displaced & Privilege: A Study Room Guide on Live Art in the Age of Hostility by Dr Elena Marchevska on Misplaced Women? + Errata Sheet

In London, Reviews, Workshops on January 26, 2018 at 2:44 pm

Within this study guide that we warmly recommend you may between others reed about the brother context in which the “Misplaced Women?” Workshop by Tanja Ostojic has been produced, reflected a pone, distributed and publicised. With the “Misplaced Women?” project we pay special attention to credit everyone properly as far as possible. In that light I am pleased to share with you an Errata Sheet to The Displaced & Privilege: A Study Room Guide on Live Art in the Age of Hostility by Dr Elena Marchevska published by Live Arts Development Agency, LADA, London, in 2017, that may be download for free under this link.

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This is the ERRATA SHEET to the The Displaced & Privilege: A Study Room Guide on Live Art in the Age of Hostility by Elena Marchevska published by LADA, London (2017):

1) The drawings on the front and back cover and inside the guide by David Caines, have been mostly inspired by performances from Dagmara Bilon, Teresa Albor, Sophie Cero and Elena Marchevska developed in the frame of the ‘Misplaced Women?’ workshop led by Tanja Ostojić.

2) On page 1:

5. ‘Misplaced Women?’ workshop by Tanja Ostojić: documentation and participant’s responses

3) On page 3:

2. ‘Misplaced Women?’ Reflective Section, where you can find documentation of the workshop by Tanja Ostojić that I hosted with LADA in December 2016.

As part of the ‘Misplaced Women?’ workshops Tanja Ostojić encourages all participants to reflect in written form about their experience with the workshop, performances they developed and on the topic of the project, and she is publishing those voices regularly on the project blog. For this Study Guide, I selected from there and republished four responses to illustrate the outcomes of the workshop that she led.

For a full version of the responses and the reflection on the London iteration of the ‘Misplaced Women?’ project, please see the originally published material that has been edited by Tanja Ostojić and Danyel Ferrari:  https://misplacedwomen.wordpress.com/2017/03/07/misplaced-women-performance-workshop-in-lada-london/

4) On page 9:

For more information on Ostojić’s work please see her books:

Strategies of Success, ed. Tanja Ostojić, La Box Bourges and SKC Belgrade (2004), and

Integration Impossible?: The Politics of Migration in the Artwork of Tanja Ostojić, eds. Marina Gržinić and Tanja Ostojić, argobooks, Berlin (2009)

5) On page 65:

Note: These reflective articles were originally edited and published by Tanja Ostojić and Danyel Ferrari in January 2017, for ‘Misplaced Women?’ blog section dedicated to London’s workshop. You can see all the entries on the following link: https://misplacedwomen.wordpress.com/category/london/

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The end of the Errata Sheet.

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Drawing by David Caines of the performance by Teresa Albor in the frame of the “Misplaced Women?” performance art workshop by Tanja Ostojić in LADA, London, December 2016.

Misplaced Women? Performance Workshop in LADA London

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

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

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

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

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

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

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

Misplaced Women?

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

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

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Misplaced Women? Performance Workshop in LADA London

In London, Workshops on March 7, 2017 at 6:39 pm

 

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

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

It was an honour and a privilege to work with Tanja Ostojić and to host Misplaced Women? in London.   

Lois Keidan, LADA*

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Tanja Ostojić:

I am grateful that I had great opportunity to lead two days long intensive performance art workshop hosted by Live Art Development Agency London, on invitation by Dr Elena Marchevska who also organised and facilitated our program including the final presentation.

Misplaced Women? Performance Workshop is one of important formats under the umbrella of the  “Misplaced Women?” Project (ongoing since 2009) that I have developed in the past several years.  Many participants of diverse nationalities, professions, genders, age and backgrounds have went though it so far Europe wide. Workshops are made in small and mid size groups with four to sixteen participants. Workshops have been hosted by high schools, universities, art schools, (performance)art spaces and festivals. My role within it is to initiate sensibility, dialogues and thinking about issues of displacement, migration, public space, security, exposure, gentrification, sensitivity to the issues of gender in the context of migration, between others; to initiate people to try out performative acts in the public space, and further more to give them space, support and encouragement to realise performances. And as well to facilitate them to participate in group public presentations of their workshop activities and to produce afterwords written reflexions or further interventions related to it, that some of them I edit and publish on the project´s on-line blog. Occasionally processes of healing related to deep personal, legislative or family traumas are occurring as well. Some of workshop participants produce as well at later stage works or writings that have been inspired by creative processes in this workshop.

The London iteration of the Workshop was of high quality thanks to the good organisation and pre scouting of the neighbourhood and high motivation and quality of the participating artists, activists and writers selected via open call, most of whom have been already working with issues of migration and / or have been experienced performance artists themselves. So we had very dynamic and inspiring exchange between ourselves.

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Tanja Ostojić. Photo: Danyel Ferarri

I´ve also done one small performance intervention myself, to “brake the ice” at the beginning of the outdoor part of the workshop, at 1pm on December 13, 2016 in the closest vicinity of LADA. My intention was to memorise the 3 years long fruitful existence and one year time of displacement of the ]performance s p a c e [  due to the gentrification processes raging in Hackney Wick. Along with physical changes of the neighbourhood came increased rents and the inevitable loss of arts spaces, including the important venue ]performance s p a c e [, which moved to Folkestone following complaints from residents of newly built condominium complexes.  

And so in front of the entrance of what used to be the important performance art venue I was thinking of how many amassing performances have been realised there in three years of its existence, while emptying all the contents of my hand bag and my pockets, turning every single item inside out.. At the end of this cycle, standing in socks without coat on a cardboard on a wet London December day, in front of the former location of the ]performance s p a c e [, I read a poem from a book that I purchased a day before while scouting the Westwood Shopping Mall in Stratford Station. It was a powerful poem from Adrienne Rich´s book “The Dream of a Common Language”. Then came the cycle in reverse and I turned back and packed one by one all my stuff…

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The following artists, activists and researchers developed their new works or performed some of the “Misplaced Women?” scores in the frame of the “Misplaced Women?” London Workshop. I would like to invite you to please check out Participants Contributions in text, photos and videos, that I edited (partly in collaboration with Danyel Ferrari) and published on the project blog:

Elena Marchevska holding the Misplaced Women? sign on Heathrow Airport 

Danyel Ferrari´s Article published in ArtSlant

Teresa Albor´s performance interventions

Camilla Canocchi 

Shannon Mulvey 

Cherry Truluck

Seila Fernandez Arconada

Alice Tuppen

Hilary Williams 

Dagmara Bilon

Jasmine Lee

Nicholas Harris

Sara Zaltash

Sophie Cero

Miki Zea

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Please see this 3:50 min long video about the “Misplaced Women?” performance workshop by Tanja Ostojić, in London, that has been made by Elena Marchevska and produced by LADA.

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

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The Displaced & Privilege: A Study Room Guide on Live Art in the Age of Hostility by Dr Elena Marchevska published by LADA, in 2017, can be download for free under this link. 

Note: And please reed the related Errata Sheet to it.

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Learn more about the Misplaced Women? project and the artist Tanja Ostojić

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Lois Keidan is a co-founder and the Director of the Live Art Development Agency. She was Director of Live Arts at the Institute of Contemporary Arts, London from 1992 to 1997 where she devised a year round programme of new performance and initiated numerous new ventures for established and emerging artists. Prior to the ICA, she was responsible for national policy and provision for Performance Art and interdisciplinary practices at the Arts Council of Great Britain. She contributes articles on performance to a range of journals and publications and gives talks and presentations on performance at festivals, colleges, venues and conferences in Britain and internationally. She sits on a number of Boards and Advisory Panels, including Artsadmin (London) and Performa (New York).

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Shannon Mulvey unpacked her bag on December 14 2016 by the oak tree on the River Lee at the border of Hackney Wick and Stratford London..

In London, Stories, Workshops on February 13, 2017 at 10:06 pm

Shannon Mulvey unpacked her bag on December 14, 2016 by the oak tree on the River Lee at the border of Hackney Wick and Stratford London, in the frame of “Misplaced Women?” performance workshop in the public space lead by Tanja Ostojić, hosted by LADA.

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Shannon Mulvey unpacked her bag on December 14, 2016 by the oak tree on the River Lee at the border of Hackney Wick and Stratford London, in the frame of “Misplaced Women?” performance workshop in the public space lead by Tanja Ostojic

While discussing the experiences and issues of displacement of our workshop collective, I began to remember a story that my mother had told me of my grandparents’ assimilation into British culture and their experience of xenophobia. My grandparents on both sides immigrated from Ireland at the age of 16. Reflecting upon my 16 year old self, I could not have even conceived leaving home never mind immigrating. Yet all of my grandparents left their small villages in rural south west Ireland to seek a better life across the water in the UK. Shortly after arriving in the UK they were welcomed by signage clearly stating “no blacks, no Irish, no dogs” on nearly every tenement building and work place. With opportunities lacking, it was desperate times but my grandmother managed to find a small room in which she and her husband could stay. The only rule was no children. Hiding her pregnant stomach, Eileen accepted the room and continued to keep her now heavily pregnant stomach under wraps. A few months later, my uncle Michael was born. However, Michael was fully deaf and suffered from colic which caused him to scream loudly with the pain of the infection.

Trying desperately to protect her livelihood and save her family from being thrown out onto the streets of London mid-winter, Eileen tried desperately to calm her distressed child.

It was no time before the land lady; who was also Irish but had immigrated years before, found out about the child and threw the family out onto the streets.

Although Eileen and Paddy felt abandoned and alone in a new country, they knew they could always rely on the help of one thing- the generosity of the Irish community who had immigrated alongside them and become kind hearted friends throughout the process. A friend they had met on the boat over offered them a place to stay and soon they began to settle back into London life.

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Shannon Mulvey unpacked her bag on December 14, 2016 by the oak tree on the River Lee at the border of Hackney Wick and Stratford London, in the frame of “Misplaced Women?” performance workshop in the public space lead by Tanja Ostojic

It saddens me that this story was reminded to me by the shared stories of xenophobia and mistreatment of immigrants discussed within our “Misplaced Women?” workshop. It is documented that the recent rise of racist attacks occurring within the UK took place immediately following the UK’s Brexit vote determining the country’s’ decision to leave the EU. I think it is a vital point in history in which to take action and challenge this racist rhetoric that is being promoted and to take pride in our mission as artists to make work that recognises and resists racist prejudice.

As a theatre maker, it was a truly enriching experience to be able to work collaboratively with such talented artists and to be inspired and informed by their vast and varied processes and modes of thinking and creating; which is a pedagogy I have not encountered thus far in my training as a performer. It was absolutely wonderful working with Tanja Ostojić.

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Shannon Mulvey has been trained on the American Theatre Arts course at Rose Bruford drama school. Whilst studying she spent an exchange semester in Chicago where she worked professionally with the avant-garde, experimental theatre company Trapdoor Theatre. After graduating in June 2016 and receiving a first class degree, she founded the theatre company Sisters of Eden, a feminist performance collective that makes work that challenges patriarchal, hetero-normative ideologies and celebrates the female form.

Check them out on:

Twitter &Instagram: @Sistersof3den

Facebook: Sisters of Eden

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/

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