MisplacedWomen?

Posts Tagged ‘#misplacedwomen’

Score #3: Becoming One With a Bag

In London, Scores on February 25, 2022 at 3:42 pm
Misplaced, Score #3: Becoming One With a Bag, 2021, Millennium Bridge, London, performed by: Dagmara Bilon & Dyana Gravina. Mis(s)placed Women? Performance Weekend and the Community Gathering in Belgrade, October 17 2021, via Zoom. Photo: Mia Bilon.

DAGMARA BILON

Score #3: Becoming One With a Bag, 2001

Around 30 minutes, with or without preparation, two performers

Location: busy city bridge

About:

This score is sort of a combination of the Mis(s)placed Women? Score#1 and Score#2 by Tanja Ostojić. Becoming One With a Bag is a metaphor of displacement, objectification and detachment from humanity, in which the viewer on their way to work crosses the busy city bridge and unexpectedly spots legs coming out of a bag, without a face, without an identity. Next to the bag on legs, there is a second person (co-performer) holding a MISPLACED sign (Score #2). (The bridge here is a symbol of a transient place, in-between two different locations, when one migrates from one place to the other, on the bridge is ‘in between’.)

Instruction:

1. Select a busy city bridge.

2. The main action takes place on the pedestrian area toward the middle of the bridge.

3. The performer wears a dress and high heels, walking over the bridge toward the middle, carrying the ‘refuge bag’ on her shoulder. She stops and steps inside the bag until her upper body disappears inside the bag. The second performer zips the bag and positions herself aproximately one meter away.

4. Both of them stand still as a kind of juxtaposed, obscure attraction and provocation at the same time for about half an hour.

Important: The co-performer needs also to look after the person in the bag who can not see its surroundings.



Misplaced, Score #3: Becoming One With a Bag, 2021, Millennium Bridge, London, performed by: Dagmara Bilon & Dyana Gravina. Mis(s)placed Women? Performance Weekend and the Community Gathering in Belgrade, October 17 2021, via Zoom. Live streaming: Robin Harvey.

Note:

It is interesting to find out to whom this action speaks to and how are the people passing by responding. Reflect upon your motivation to perform this score and from which perspective you speak. (For example, as a non-UK citizen, based in London, I travelled recently back home to unite with my family after having been away for two weeks. Two days ahead of my flight, I received an email from the Home Office stating that if I am not able to present my Settled Status at the border, I won’t be able to enter the country. After 20 years of living in the UK, I would have never thought that I had to fear being stopped at the borders… This experience made me think about the people who struggle daily with this issue.)

Crediting and Publishing:

Mis(s)placed Women? project by Tanja Ostojić, live action by Dagmara Bilon, performed by: your names…

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Dagmara Bilon (1981) is a London based performance and interdisciplinary artist, creative producer and activist of Polish/German origin who conducted various community-led art projects engaging young people in the discourse of gender, sexuality and identity. She is active member of the The Purple Ladies collective since its establishment, and the Mis(s)placed Women? community since 2016.

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Edited and first published by Tanja Ostojić in the Mis(s)placed Women? exhibition catalogue, KCB Belgrade 2021

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Please visit the related posts:

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

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

HOANG TRAN HIEU HANH: Score #4: spread and reflect, 2021

Earlier contributions by Dagmara BILON:

Dagmara Bilon realised 3 performances on gentrification, home and identity in the frame of “Misplaced Women?” workshop hosted by LADA London, December 2016

Teresa Albor’s and Dagmara Bilon’s continuous collaboration

Score #4: Spread and Reflect

In Scores on November 15, 2021 at 11:25 am

HOANG TRAN HIEU HANH

Score #4: spread and reflect, 2021

More or less an hour, several performers

About:

Mirror, Mirror – Spread Your Reflection! is a collaborative intervention with large mirrors, first performed in Berlin’s underground in January 2018 in the frame of Tanja Ostojić’s Misplaced Women? performance art workshop, confronting manspreading, a habit of men sitting in public transport with legs wide apart, thereby covering more than their own seat. 

Instruction:

1. Choose a mirror to bring along with you, (the larger the better).

2. Select a means of transport of your choice, for exsample: metro, tram, train.

3. Take your seat in front of a cis man (short for cisgender man: a person who was assigned male at birth and whose gender identity is male).

4. Hold your mirror between your legs with the mirror reflection towards the person sitting opposite to you.

5. You can do the same action on a different means of transport and see how different it is being perceived at different times.

Note:

Reflect upon how it feels to hold the mirror, to take up space, to be made invisible by the mirror, and to become visible with the mirror.

Mirror, Mirror – Spread Your Reflection! by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu. Photo: Jiachen Xu

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 delegated performance by Hoang Tran Hieu Hanh, Score 4: spread and reflect, MIS(S)PLACED WOMEN?, project by Tanja Ostojić, performed by: (add names of everyone performing with you and the photographer(s) name(s))— wherever 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 it went (your name, date, time, duration, location(s) and notes about what happened). Please let us know if you would like your contribution to be published on the blog of the project. We would greatly appreciate that!

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Mirror, Mirror – Spread Your Reflection! by Hoang Tran Hieu Hanh, developed in the frame of: Tanja Ostojić´s Misplaced Women? workshop, Berlin (Jan. 2018) With: Gaby Bila-Günther, Nati Canto, Alice Minervini, Evdoxia Stafylaraki, Jiachen Xu and Hoang Tran Hieu Hanh. Photo: Alice Minervini

Hoang Tran Hieu Hanh is a Berlin based activist, who is a member of the Mis(s)placed Women? community since January 2018. As a response to the racism related to the COVID-19 pandemic, she co-created a group for the Asian Diaspora in Europe and has hosted artist and community talks on notions of home, mobility and the politics of care. Her activism is centred around intersectional feminism, the right to reproductive self-determination, climate justice and the sense of solidarity in communities of colour. In her spare time, she ponders over creative approaches to link the arts with political activism to shift boundaries, change relationships and create new paradigms. Currently, Hanh is working on migration and displacement in the context of climate change, environmental degradation and disasters.

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Manspreading, Istanbul Underground, Photo: Tanja Ostojić, July 2021.

Edited and first published by Tanja Ostojić on the Misplaced Women? project blog (2021)

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Please visit the related posts:

TANJA OSTOJIĆ: Score #1: Unpacking a Bag of Your Own, 2009

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

“Mirror, Mirror – Spread Your Reflection!” by Hoang Tran Hieu Hanh, Berlin (Jan. 2018)

Manspreading, Istanbul Underground, Photo: Tanja Ostojić, July 2021.

Misplaced Latina? by Alejandra Robles Sosa

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

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

[Translation to Croatian is below]

Misplaced Latina?

Contribution by Alejandra Robles Sosa

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

Who am I?

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

What were my expectations from the Misplaced Women? workshop?

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

The Misplaced Latina? performance

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

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

My sorrow containers:

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

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

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

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

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

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

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

Final reflections

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

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

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

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

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

Text written by: Alejandra Robles Sosa

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

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

Translation from English to Croatian: CHC

Photos: Tanja Ostojić and Neli Ružić

Video recording & editing: Andrea Resner

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

Hosted and organised by CHC in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

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

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Please see other posts from Split and this workshop:

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

Routine by Mia Bradić

Misplaced Women? Split Station

Routine by Mia Bradić

Self-exploitation by Katarina Duplančić

“On Rape Attempts” by Tanja Ostojić

“Misplaced Organization?” by Culture Hub Croatia

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

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

HR PRIJEVOD 

Tko sam ja?

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

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

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

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

Što sam očekivala?

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

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

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

Performans

Moje emocije:

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

Moji kontejneri za tugu

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

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

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

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

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

– studentica: 53,368 HRK,

– digitalni nomad: 217,718 HRK,

– kao supruga: 44,742 HRK.

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

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

Završni osvrt 

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

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

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

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

Pogledajte i druge priloge iz ove radionice/ this workshop:

Feminism Forgives by Ines Borovac 

Misplaced Women? Misplaced Organization? by Culture Hub Croatia

#NismoSamoUkras by Lissette Nicole Josseau

Routine by Mia Bradić

Misplaced Women? Split Station

Routine by Mia Bradić

“On Rape Attempts” by Tanja Ostojić

“Misplaced Organization?” by Culture Hub Croatia

Self-exploitation by Katarina Duplančić

Mis(s)placed Women? video channel:

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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Score#1, Raspakivanje osobne torbe na Muzilu

In Performances, Pula, Stories on November 23, 2020 at 6:35 pm

Misplaced Women?, delegirani performans Tanje Ostojić

Score #1/Raspakivanje lične torbe/ Performans Solidarnosti: kontribucija Roberte Weissman Nagy uz Partituru za izvođenje performansa br.1

Izvela: Roberta Weissman Nagy 

Lokacija: Muzil, napušteni vojni kompleks, vojna zona bez dozvole prilaska, Pula, Istra, Hrvatska

Datum: 21.11.2020. Vreme: 11–14 h, u trajanju od tri sata

Misplaced Women?, delegirani performans Tanje Ostojić, Score #1, izvela: Roberta Weissman Nagy, Muzil, Pula, 2020. Fotografija: Zoltan Nagy

Opis i refleksije:

Ja sam dijete vojnog lica. Dijete nekog drugog svijeta. Priključila sam se Misplaced Women? performans-projektu u želji da preispitam spoznaje o sebi kao ženi, upravo kroz ogoljavanje i prezentiranje sadržaja svoje „torbe“, odnosno, intimnog, skrivenog i erotičnog svijeta osobnosti. Na prvi pogled bezazleno istresanje sadržaja osobne torbe, uprizoreno na lokaciji za koju sam smatrala da je jedna od onih koje su me trajno oblikovale kao ženu, postalo je duboko emotivno iskustvo proživljavanja vlastite fragilnosti i ženskosti, te vrtlog emotivnih i uznemirujućih reakcija koje me povezuju sa lokacijom i prošlošću.

“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy

Trajno napušten sablasni prostor vojnog kompleksa, koji je JNA mirno i bez razaranja napustila  tokom rata, 15. Decembra 1991. u 17 sati, i u koji je i danas nemoguće ući bez dozvole Ministarstva obrane, posjetila sam pre nekih 50-tak godina, jednog ranog hladnog jutra sa svojim ocem, kapetanom bojnog broda, koji je imao ured u zgradi ispred koje je snimljen performans. Sećam se da je danas zaraslo dvorište tada bilo čisto i uredno. U njemu je stajalo nekoliko stotina mladih mornara iz cijele Jugoslavije pod punom spremom, koji su čekali prekomandu. Razgovarali su i pušili.

“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy

Sjećam se zvukova, mirisa i osjećaja, a posebno njihovih pogleda, dok sam kao petogodišnja djevojčica prolazila u mimohodu i pela se potom stepenicama, ulazeći u zgradu. Neki su bili ljubazni, osmjehnuli se, a neki su me sa vidljivim prijezirom ružno gledali, čak i psovali. 

“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy

Osjećaje bespomoćnosti i nejasnog straha koji su usledili odmah nakon nesvesnog prepoznavanja da sam poslatala meta kolektivne emocije, koje su mi tada izazvali, došla sam sada istresti pred njih, kao odrasla žena. Stajala sam sama pred tisuću ljudi kojih nije bilo. Strahovita je energija  i dalje prisutna na tom trgu.

Strah, suze, inat, ponos i snaga prepliću se kroz pokret dizanja ruku i čin izvrtanja torbe. Intenzivno sam doživela ovaj performans, kao veliku snagu i kao usud. Doneo mi je osećaj pomirenja, da konačno mogu biti to što jesam, što sam postala, sa skinutim cipelama, bosa, bez rezerve prisutna, baš tu na javnom platou u zabranjenoj zoni gdje odavna nikog više nema.

“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Photo:  Roberta Weissman Nagy

Orkanska bura koja je kao neminovnost toga dana bila sveprisutna, dotakla se i predmeta iz moje torbe, pomno odabranih da simboliziraju svaki segment mog života, uključuju i oktobarski broj časpisa Cosmopolitan, koji je tek izašao, i u njemu, članak o meni — da žene čitaju tko sam. Tek sam prazneći torbu saznala koliko još imam nesvesnih delova sebe. Istresajući sebstvo, sagledavši akt ove izjave, plakala sam čitavih sat vremena.

 “Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Photo: Roberta Weissman Nagy

O Muzilu:

Iako se nalazi unutar grada, Muzil je oduvijek predstavljao zagonetku za većinu Puljana i Puležanki. Od 1859 godine kada Austrougarska određuje Pulu za svoju glavnu ratnu luku, pa sve do 2007. godine ova ogormna zona, površine od 180 hektara, bila je zatvorena za javnost. Tu su se smjenjivale razne vojske: Austrougarska, Italijanska, vojska Kraljevine Jugoslavije, SFR Jugoslavije, i Hrvatske. Vojni  kompleks Muzil je do raspada Jugoslavije koristila Jugoslovenska ratna mornarica (JRM). Po uspostavi Rrepublike Hrvatske, kompleks je kao i cjelokupna vojna imovina prešao u korištenje Hrvatske vojske. Danas je napušten i u statusu iščekivanja novog vlasnika, i prenamjene, jer je nejasan odnos vlasništva između Republike Hrvatske, Ministarstva obrane te samog Grada Pule na čijem je teritoriju kompleks, a za koji građani pokazuju interes u smislu prenamjene u javni prostor za kulturne i druge urbane sadržaje.

O autorki:

Roberta Weissman Nagy je umjetnica koja u svom radu kroz različite medije otvara pitanja o objektivnoj i subjektivnoj korelacij i realnosti. Ova puležanka je diplomirala na FLU u Beogradu 1988. godine, međunarodno je aktivna na preko 80 izložbi, te je nagrađivana za svoj umjetnički i pedagoški rad.

Fotografije: Zoltan Nagy / Roberta Weissman Nagy

Videast: Zoltan Nagy

Tekst napisala: Roberta Weissman Nagy

Tekst uredila i prvi put objavila na Misplaced Women? blogu: Tanja Ostojić


Molim Vas pogledajte priloge i članke koji se direktno nadovezuju na ovaj:

Partitura za izvođenje performansa, br.1: Raspakivanje lične torbe 

Partitura za izvodjenje performansa, br.2: Držanje natpisa

Jesenja izložba Udruženja Likovnih Umetnika Srbije u Paviljonu Cvijeta Zuzorić na Kalemegdanu Beograd

Prethodne kontribucije: Perfromans Solidarnosti

Score#1: (in English)

Score#2: (in ENglish)

Misplaced Self in the Misplaced City

In Homes, Photos, Stories, Wuhan on April 5, 2020 at 7:47 pm

Tan Tan is performance and video artist of younger generation who went to visit her parents in Wuhan early this year and got accidentally under the total lockdown as of January 23, due to the COVID-19 outbreak. Before she is going to be hopefully finally released after two-and-half-moths, on April 8, 2020, she gives us an inside into her Diary under Wuhan Lockdown, shares with us six of the predominant feelings she lived those days, and some of the daily photos from the window of her parents home. Panic. Anxiety. Anger. Sadness. Depression. Redemption.                                                                           

(Tanja Ostojić)

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Misplaced Self in the Misplaced City

By Tan Tan

April 2, 2020.

I am in Wuhan, central China, where I was born and raised. This was not a famous city for most of people around the world, as it is one of the second-tier Chinese cities (recently upgraded to ‘the new first-tire’), not like Beijing, Shanghai, which are of the traditional first-tier mage cities. But from the mid-January, Wuhan was globally exposed, accidentally, due to a newly discovered virus that invaded this city, and threatened millions of human lives with mind blowing speed. Right now, this virus, already known as Coronavirus (COVID-19), has become a crazy international pandemic. When I first heard the shocking news of the lockdown of Wuhan, I did not imagine that the whole world can be trapped today. Everyone is living a precarious life despite nationalities, identities, positions, and classes.

Until today, it is still not scientifically proven if Wuhan was the place of origin for the virus, yet due to the broadcasting of the international mass media, many people prefer to believe that. Thus, a ‘misplaced’ accusation has been brought to this city, turned it into a ‘place of the virus.’ As we know, every stereotype, prejudice, racial discrimination among human beings could last for centuries, so I don’t know for how long Wuhan needs to carry this ‘reputation’.

Since the beginning of the lockdown on January 23, every day before midnight, I posted a short diary on the ‘WeChat friends circle’ (a popular mobile-based social networking platform in China) with a photo. The composition is a framed view of each day from the same window at my home. In the picture, the building complex across the lake is Central South Hospital of Wuhan University, which is one of the most prestigious hospitals treating the Coronavirus epidemic in Wuhan. I decided to wrap this daily log on March 28, because from that day on, the people from outside have been permitted to enter Wuhan conditionally. After 66-day-long total lockdown, Wuhan finally has started to open its border gradually, and the lockdown will be totally withdrawn on April 8, according to official announcement. At this moment, I would like to share my personal experience during the hard times, by extracting six principal emotions out of my diary, as a potential reference to some of you who are still struggling with the quarantine.

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Panic. I guess everyone in the world had more or less the same panic when we realised that COVID-19 is much more contagious than SARS, MERS, or any other known infectious disease in human history, and worldwide experts have no idea of the cure for this disease. In other words, it seems that this disease could lead us to the end of the world. But in the first half month of the lockdown in Wuhan, the panic was even tougher, because before the disease spread rapidly to other cities, we were rather alone to face this unknown catastrophe. Approximately, shortly after January 21, my cellphone became a container of the hell, as every hour, some scary news or rumour popped up on its screen, including the hospitals begging for support, the doctors and nurses crying, and the increasing number of patients that had no way to be saved. From January 24 to 31, I spent the worst Chinese New Year I could remember, with panic rising day by day.

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Anxiety. Since the medical supplies such as masks and protective clothing were in a massive lack during the first month, anxiety was a prevailing and dominating mood shared by all the people in Wuhan. As an artist, I felt so useless when confronting this kind of crisis, which was an even worse feeling than panic. Fortunately, an exit from such negative state opened its door for me. From January 26 on, I joined a volunteer’s team Lumo Road Rescue Group to do some online work for donating the supplies to the hospitals. Lumo Road is the landmark of live-houses and hippy culture in Wuhan and this collective was mainly composed of rock fans, artists, musicians, university students, and other night life grassroots. I am one of them in a way. Surprisingly, these party-goers did a very serious and effective teamwork, connecting the donors and the ones in need, and have arranged for thousands of products per day to be sent to the hospitals, one-week-long. Perhaps our biggest advantage is that we are all the type of people that want to skip the bureaucratic (sometimes ridiculous) administration, and directly put the things in hands of those in need. Nevertheless, after one week, I found that my anxiety was not decreasing, but quite in contrary, it was growing. It is because I realised that even if I gave up sleep, I could not fill up the gap between the supply and the demand, as always more and more patients and hospitals cried out for help. Like many other voluntary communities, Lumo Road Rescue Group decided to cease our work after this busy week, because we could not solve this endless anxiety, and several members of the group got infected while delivering the supplies.

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Anger. Anger comes and goes in my diary. I think there are different reasons for being furious in every distinct nation under such epidemic situation. In China, especially in Wuhan, in the beginning, I was so angry about our political system that was always trying to cover the bad news, which caused about ten days delay in dealing with this virus. Li Wenliang, as one of the ‘whistleblowers’ to warn people of the suspicious virus, became internationally acclaimed as a Chinese hero oppressed by the ‘Big Brother,’ and killed by Coronavirus. After being a volunteer, I became even angrier day by day over many inefficient and inhuman measures from certain authorities, like the Chinese Committee of the Red Cross, which controlled the biggest storage of the supplies but was not competent for distributing them timely. This feeling was also provoked by various discrimination present among the people. Some of international media (outside China) insists on the stigma of ‘Wuhan Pneumonia’ although it has got the scientific name (COVID-19) already in January; there are some Westerners who like to shout at Chinese people (or even Asian looking people) on the street as ‘Coronavirus’; inside China, people from Wuhan and Hubei (the province of Wuhan) are discriminated by those from other areas; even in my own building, my neighbours didn’t allow a tenement to live here anymore when he came back in Wuhan from another city, for he might be a threat to bring the virus to this ‘zero infected building’…

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Sadness. Sadness never leaves. Besides Wuhan people, this mood is among people all over the world. Because we all know that in addition to the official data of death, there are much more ‘grey areas’ in the statistics. In Wuhan, except say that there are 2.567 casualties* on the list so far, but we don’t know how many people have left the world before the two new hospitals and the mobile cabin hospitals were built. What’s more, how many people were killed by other diseases in the situation of no access to ordinary treatment in the hospitals? How many people became homeless because of the sudden lockdown? How many people lost their jobs or are facing bankruptcy? Last but not least, how many pets have been abandoned and killed by vicious rumours and cold hearts?

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Depression. All the emotions listed above often drove me into a deep depression during those days. I guess many of you who are reading this text might feel the same. Because we are all vulnerable, useless, uninformed/over-informed, and under a quarantine with an unpredictable end. We are all isolated and ‘misplaced’ in an incredible situation. Personally, I have coincidentally stayed with my parents for more than two months under the same roof, without seeing anyone else. This is rather a big challenge than a happy family reunion to me, as the generational gaps in China are specially huge. My parents and I have opposite life styles, and opposite opinions on values, and politics most of the time. On the other hand, as an artist engaged in performance art and other edge-cutting art forms, I don’t want to shock my parents with my ‘crazy’ behaviours at their home. Thus, I was not able to do many of my artistic actions normally and had to disguise myself as their ‘good girl.’ In this sense, I have lost my integrity, my real world and space, and have been living with a ‘misplaced self.’

From Tan Tan’s online diary: View to the Central South Hospital of Wuhan University from Tan Tan’s home during the total lockdown in Wuhan. Photo / Copyright: Tan Tan, 2020

Redemption. Hopefully, in parallel with all these negative emotions, there is also a force that supports each of us, that is, the rescue and self-rescue. Other than joining the volunteers to serve the hospitals, many people chose to implement immaterial redemption. Artistically, there are countless online exhibitions and live music performances; spiritually, there are various psychological assistance and religious group blessings. I myself have participated in two exhibitions and three publications linked with the epidemic situation. Moreover, I submitted an art project to an institution on the theme of animal protection, because this human crisis makes me feel more the call of rebalancing the energies of the earth, and even the entire universe. In ancient times, humans used to respect all plants and animals, and followed the steps of God and nature. Today, because of ‘capitalism,’ ‘overconsumption,’ and the ‘society of spectacle,’ we become more and more reckless to the natural principles. As an evident result, the world becomes as it was in Revelation of the Bible overnight. At this moment, not only Wuhan and China, this wild animal-derived virus has conquered the anthropocentrism terrain; meanwhile, locust plagues, mountain fires, hurricanes, and floods are also emerging one after another in every corner of the world. Therefore, I think it is time for us to go back to the sources of our world, then reshape the reciprocity between humans and animals and what humans are doing to the earth. This is more fundamental salvation than any vaccine. May it be written on the plan of the redemption from the Universe.

Eventually, after so many traumas, with the strong spirit and contribution by ordinary  Chinese people, and the zigzag endeavours from the position of power (governament), Wuhan has survived this war. There are many more issues that should be addressed in order to tell the whole story of this ‘misplaced’ city, but I could only write down a diary from a personal view. On the April 8, we will be hopefully finally ‘freed’ from the lockdown as announced, but the obstacles for true mobility must still stay, so when will my days of ‘misplaced self’ come to an end? When I look at the world and the universe, I feel as I am still a prisoner, as I don’t know where else I can go and how to board on Noah’s Ark…

At the end, I would like to make a quote from my diary, ‘This troubled world would no longer allow us to wait, we shall start the process of healing.’

Tan Tan: A Diary under Wuhan Lockdown, video, 2020.

Tan Tan is an intermedia artist who currently lives and works in China and Belgium. Her oeuvre covers experimental film/video art, performance/theater, music/sound art, installation, and cyber art.She had several solo exhibitions and took part in numerous art events internationally, such as 60th Berlinale, 2010, International Film Festival Rotterdam, 2011 (IFFR), Images Festival, 2012 (Canada), 43rd Tampere Film Festival, 2013 (Finland),  Venize Biennale, 2015 and 2017, Asian Art Top Show, 2010  (China), 1st ASEAN Biennial, 2013 (China), Wuzhen Theatre Festival, 2016 (China), Creative China Festival at La Mama Experimental theater, 2019 (The USA)

*(Editorial comment) As of april 17, 2020 the offical number of casualties in Wuhan rised for about 50%, from 2.567 to almost 3.900.

This is a contribution by invitation, to Tanja Ostojić’s Misplaced Women? project. Edited and first published by: Tanja Ostojić at the Misplaced Women? Project blog, April 5, 2020.

Please see Tan Tan’s March 8, 2018 performance contribution to the Misplaced Women? project

Doing Gender Contribution by Li Fu

In Innsbruck, Performances, Stories, Workshops on February 18, 2019 at 10:44 am

Doing Gender 8102.50.3*

60 min Performance von Li Fu

Universität Innsbruck

Beschreibung und konzeptionelle Einbettung

„’Doing gender’ zielt darauf ab, Geschlecht bzw. Geschlechterzugehörigkeit nicht als Eigenschaft oder Merkmal von Individuen zu betrachten, sondern jene sozialen Prozesse in den Blick zu nehmen, in denen ‘Geschlecht’ als sozial folgenreiche Unterscheidung hervorgebracht und reproduziert wird.“(*1)

Der Körper wird exponiert und in verschiedenen Schritten wird versucht die Konstruktion von Geschlecht in einzelnen Bausteinen zu zerlegen wie auch wieder herzustellen und diese somit nachvollziehbar zu machen. Da die Herstellung von Geschlecht „eine gebündelte Vielfalt sozial gesteuerter Tätigkeiten auf der Ebene der Wahrnehmung, der Interaktion und der Alltagspolitik [umfasst], welche bestimmte Handlungen mit der Bedeutung versehen, Ausdruck weiblicher oder männlicher ‘Natur’ zu sein“ (*2), betritt die Person in einem ersten Schritt in einem Poncho den Raum. Der Schnitt des Ponchos hebt keine Körperpartien besonders hervor und versucht somit beim Gegenüber keine gezielte Konstruktion von Geschlecht zu generieren. Daher wird es möglich in einem inneren Prozess zu sehen, welche Kategorien von Geschlecht die Betrachter*innen der Performance dem Subjekt auf dem Laufsteg von vornherein zuschreiben. 

Der Campus Innrain bot sich als Ort des Oszillierens zwischen Theorie und Praxis besonders für das Aufzeigen des iterativen Prozesses der Konstruktion-Dekonstruktion-Rekonstruktion-Dekonstruktion an.

Der Raum wurde in zwei Ebenen eingeteilt: dem fiktional privaten hinteren Bereich, der aus einer gläsernen Decke besteht, die Einblick in die Bibliothek gewährt; aus einer Fensterfront, die zum Spiegel umfunktioniert wird; aus Sitzgelegenheiten, die den ‘privaten Bereich’ umrahmen und damit abgrenzen, aber gleichzeitig auch als Interaktionsort mit dem Außen genutzt werden können und dem vorderen öffentlichen Bereich, in welchem das in Anthrazit gehaltene und langgezogene Gitter als Laufsteg umfunktioniert wird. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Auf der Schwelle zwischen dem öffentlichen und privaten Bereich wird ein Merkmal (symbolisch dargestellt durch den Nagellack) als schmerzhafter Befreiungsakt von vorgefertigten Kategorien  von Geschlecht entfernt. Dabei liegt der Nagellack wie eine zweite Haut auf dem Körper und lässt sich nur mühsam und in einem sich ständig wiederholenden Akt und in Wechselwirkung mit einem dem Körper externen Hilfsmittel (Nagellackentferner) sukzessive entfernen. 

Im privaten Bereich werden dann Hilfsmittel aus dem Koffer gezielt benutzt, um ‘Männlichkeit’  herzustellen. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Kunst in Öffentlichen Raum Tirol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Haltungen werden im Spiegel geübt und gezielte Kleidungsstücke und Accessoires sollen der Konstruktion behilflich sein.  

Anhand überspitzt ‘typischer’ Verhaltensweisen (aggressiv – lässiges umstoßen des Mülleimers – Handeln im sozialen Raum) wird ‘Männlichkeit’ performiert, wie auch anhand der Haltung, des Ganges, der Mimik und Gestik, das Tun, das in der sozialen Situation verankert ist und das in der virtuellen oder realen Gegenwart anderer vollzogen wird, von denen wir annehmen, dass sie sich daran orientieren“(*3), die Konstruktionselemente sichtbar werden lässt. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic
Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Im privaten Bereich setzt sich nun das Subjekt mit dem eben Hergestellten Schicht für Schicht auseinander und übt sich in ‘männlich betroffener Schweigsamkeit’. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Nun wird an das Subjekt in einer Interaktion ein alternatives Handlungs- und Zuschreibungsangebot von Außen [Performance assistance by Pippa Chase] herangetragen. Dies operiert mit sozial anerkannten Bildern, denen auch eine gewisse Zugehörigkeit und Solidarität innewohnen. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

‘Frau’/ Freundin’ macht ‘Frau’/ Freundin’ die Nägel und sucht aus dem Koffer ein ‘passendes’ Kleidungsstück für sie aus. 

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

‘Frau’ rasiert sich die Beine und cremt sich ein. Schicht um Schicht wird der performative Akt vollzogen. Die Konstruktion ‘der Weiblichkeit’ wirkt im Spiegelbild verzerrt. 

Li Fu: “Doing Gender . 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic
Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Die Inszenierung von ‘der Weiblichkeit’.

Im privaten Bereich setzt sich nun das Subjekt mit dem eben Hergestellten Schicht für Schicht auseinander und übt sich im ‘weiblichen Ausbruch’ – lautes Weinen und ‘hysterisches’ Anklagen:  (Wer bin ich? [im privaten Raum])

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

Schicht für Schicht wird ein ‘Dazwischen’ konstruiert und erhebt zum ersten Mal die Stimme im öffentlichen Raum erhoben.

Li Fu: “Doing Gender 8102.50.3*”, University of Innsbruck, “Misplaced Women?” Project Workshop, Art in Public Space Tyrol, 2018. Photo: Daniel Jarosch. Copyright: Tanja Ostojic

„Es ist nicht ER. Es ist nicht SIE. Es gibt auch ein  ‘DAZWISCHEN’. Wer das nicht checken will, soll sich einfach verpissen. Daran stört mich nicht mal die fehlende Empathie, sondern die in so vielen Ländern herrschende Transphobie.“(*4)

Vorbereitungsphase: ca. eine Stunde am Vorabend. 

Text: Li Fu

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Fußnoten:

  1. Gildemeister 2004, S. 132
  2. West/Zimmermann 1987, S.14
  3. West/Zimmermann 1987, S.14 zitiert nach Übersetzung in Gildemeister/Wetterer 1992, S. 237 In: Gildemeister 2004, S.132
  4. Auszug aus einem Hip Hop Text von Li Fu
  5. Siehe dazu Weber 2011

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Literaturverzeichnis:

Gildemeister, Regine (2004): Doing Gender. Soziale Praktiken der Geschlechterunterscheidung.

In: Becker, Ruth/Kortendiek, Beate (Hg): Handbuch Frauen und Geschlechterforschung. Theorie, Methoden, Empirie.

VS Verlag für Sozialwissenschaften: Wiesbaden, S. 132-140. 

Weber, Max (2011): Wissenschaft als Beruf. Duncker & Humblot: Berlin. 

West, Candance/ Zimmerman, Don H. (1987): ‘Doing Gender’ zitiert nach Gildemeister, Regine/ Wetterer, Angelika (1992): Wie Geschlechter gemacht werden. Die soziale Konstruktion von Zweigeschlechtlichkeit und ihre Reifizierung in der Frauenforschung. In: Knapp, Gudrun-Axeli/ Wetterer, Angelika (Hg.): Tradition Brüche. Entwicklung feministischer Theorie. Kore: Freiburg In: Gildemeister, Regine (2004): Doing Gender. Soziale Praktiken der Geschlechterunterscheidung. In: Becker, Ruth/ Kortendiek, Beate (Hg): Handbuch Frauen und Geschlechterforschung. Theorie, Methoden, Empirie. VS Verlag für Sozialwissenschaften: Wiesbaden, S. 132-140.

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Zur Person: Einfälle einer* Dilettant*in (*5)

Li Fu interessiert sich für das Politische im Alltäglichen und gesellschaftliche Entwicklungstendenzen der Gegenwart. Besonders die Konstruktion des Alltags und die Betrachtung der Bausteine, anhand welchen Wirklichkeiten konstruiert werden, liegen hierbei im Fokus. In D.I.Y. -Manier wird anhand unterschiedlicher Performances der Versuch unternommen theoretische Konzepte in den Alltag zu überführen. 

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Edited and first published by Tanja Ostojic on the “Misplaced Women?” Blog 2018/19

This Performance has been released in the frame of: “Misplaced Women?” Workshop by Tanja Ostojic, May 2018, Art in Public Space Tyrol /Kunst in Öffentlichen Raum Tirol, Austria.

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Please visit as well other contributions and posts from the same workshops:

Review by Tanja Ostojic: Misplaced Women? @ Art-In-Public-Space Tyrol, Innsbruck

Code Contribution by Li Fu

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

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

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Mapping around Kunsthalle am Hamburger Platz

In Berlin, Workshops on February 5, 2019 at 5:24 pm

Group Interventions of Mapping around the neighborhood of Kunsthalle am Hamburger Platz, Berlin-Weißensee, 23.01.2018.

A contribution by Mad Kate

Participants: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Kathryn Fischer aka Mad Kate

Listen to the Soundscape Weißensee

It was important to me to begin our interventions by understanding some answers to the question: “Where am I?” (politically, socially, economically)

Since I have lived in Berlin for 14 years, I am familiar with many neighborhoods, but never with this neighborhood in detail. I have performed at the Delphi Theater down the road, but this is my only interaction with the neighborhood. The Delphi is a very old “peoples theater” in Berlin and so I knew that this neighborhood had a history of an art scene, but at the same time is not a very busy or gentrified area. I know simply by being inside the Kunsthalle that this kind of large space for experimental workshops such as these one — “Misplaced Women?” By Tanja Ostojić — is increasingly rare. Many recent events at Kunsthalle have been committed to postcolonial discourse and bringing attention to the works of nonwhite artists—the kind of work that is not typically given spaces in more commercial areas of Berlin or at larger galleries. This already gives me a clue that the neighborhood is still affordable enough for a place like this to exist, while at the same time hints that the art scene may again be growing around here. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photo: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani

As a general practice before performing, I have been trying to get into the habit of understanding my sociopolitical context. This means “mapping” the area, using the “stage” (the venue) as my centering point, and working my way directionally around the center space, taking in sights, subtle changes, reading clues about the demographics of businesses and people on the streets. I also try to talk to people as much as possible to find out a bit more about the neighborhood and who is living there. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photo: Tatiana Bogacheva, Sajan Mani, Mad Kate

Gaby, Tanya, Sajan, and myself all decided to go about mapping the area. I took along my sound recorder and gave it to Tanya for most of our journey so she could experience being immersed in the sounds around us. She told me that it was an extremely psychedelic experience to her! Gaby and I took photos, made sounds, made “found instruments” and marked different areas with string. We also sometimes mirrored physical shapes with our bodies. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, Berlin, “Misplaced Women?” Workshop, 2018.

Listen to the Soundscape Weißensee

I noted down a “map” of our walk and noticed places of new development, abandoned buildings, the types of businesses, and a conversation I had with one artisan who had recently moved there. She was a paper maker who had also found a place to rent in the neighborhood. She has a small handmade paper business on a quiet side street. There were other “new artists” living in the area who had opened up a DIY gallery, an artist performance space, and other businesses that I saw as related, ie a yoga studio and a mobile burrito van. The residences appeared to be either very old buildings, presumably with residents on old contracts, and very new loft-style developments, and one van, that appeared to be someones home. 

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Sajan Mani, Mad Kate

We walked over towards Caligara Platz, which had a historical marker noting that this used to be called “Little Hollywood”. So the area has historically had the mark of artists, theater and film navigating and weaving in with the rest of the residents. It made me wonder a lot about how the art school students integrate or do not integrate with the rest of the neighborhood, as one student who was part of the said they felt some antagonism or “difference” from the people around who sometimes resented their presence doing public art. Given the fact that artists and others are being pushed out of the central neighborhoods of Berlin, however, I suspect that Weißensee will see an increasing amount of new and diverse communities moving in and I’m curious to see how these changes will take shape in the next five to 10 years.  

It was encouraging and supportive to be in a group of artists who were committed to doing these kinds of public work. In this group context it was wonderful to explore the surrounding area of our workshop.

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate
Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate


Text by Mad Kate

Edited and first published by Tanja Ostojić, 2018/19 on the Misplaced Women? project blog

Kathryn Fischer aka Mad Kate is a polyhomefull US-American sound and performance artist based in Berlin, interested in interrogating the politics of borders within and between bodies.

Mad Kate: Mapping around Kunsthalle am Hamburger Platz, “Misplaced Women?” Workshop, Berlin 2018. Photos: Gaby Bila-Günther, Tatiana Bogacheva, Sajan Mani, Mad Kate

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Please visit as well other contributions and posts from the same workshops:

Contribution by LADY GABY

Contribution by Mad Kate

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by Katja Vaghi

Contribution by Nati Canto

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

Open Call for participants for the Misplaced Women? performance art workshop with Tanja Ostojić in Berlin, January 22-24 2018, hosted by Kunsthalle am Hamburger Platz

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Older posts Berlin 2009:

Tanja Ostojić: Berlin, TXL Airport on November 21, 2009, 11 p.m,

and Valentina Medda: Misplaced Women?, Performa New York, 2009. Simultanious delegated perfromance with Tanja Ostojic, at Berlin TXL airport.

A Poetry Intervention by Nati Canto

In Berlin, Performances, Tram station, Workshops on February 4, 2019 at 1:17 pm

A Poetry Intervention by Nati Canto: One Art by Elizabeth Bishop, 2018

For the Misplaced Women? Workshop lead by Tanja Ostojić in Berlin in January 2018, I thought it was interesting to have something feminine to show in my performance and that I could identify with because being someone from Brazil in Berlin and having traveled and lived in other countries, I believe as a woman in my mid-30s I came to the conclusion that life is about learning how to deal with losses and knowing how to size them up and to transform our everyday life no matter where we are.

I decided to recite in the Berlin Overground, U-Bahn line U1 from Kottbusser Tor to Schlesisches Tor, the well-known poem called One Art, written by Elizabeth Bishop in the 1970s. I wanted to do that because reciting a poem in the realm of poem reading evenings or special moments where people would expect to listen to a poem would not give me the response I was looking for. Reciting by heart in public transportation was the chance of challenging people out of their comfort zone and at the same time confusing them on what I actually expected from them since there are many street artists around Berlin who wander with paper coffee cups asking for monetary contributions. Was I another one of them? That was definitely not my case. I just wanted to shake people’s state of mind for a short amount of time and leave.

Nati Canto: A Poetry Intervention (One Art by Elizabeth Bishop), “Misplaced Women?” Workshop, Berlin 2018. Photo documentation: Alice Minervini, Sajan Mani, Jiachen Xu, Evdoxia Stafylaraki.

The poem is precious to me because Elizabeth Bishop lived for years in Brazil with a famous Brazilian architect called Lota de Macedo Soares and she wrote a lot of her poems there. After many years, Bishop decided to go back to the United States, so she left Lota who had never accepted it and ended up committing suicide. 

The poem is written in the first person and it underlines the value of learning from loosing things throughout life. And it starts from very simple and small things such losing door keys and it escalates to losing houses, two rivers, a continent and losing the person you love, at last. This is when Bishop tries to convince herself that it’s not that hard to lose someone, but deep inside she knows it really is.

Nati Canto: A Poetry Intervention (One Art by Elizabeth Bishop), “Misplaced Women?” Workshop, Berlin 2018. Photo documentation: Alice Minervini, Sajan Mani, Jiachen Xu, Evdoxia Stafylaraki.

Text written by: Nati Canto

Edited and first published by Tanja Ostojić, 2018-19 on the Misplaced Women? project blog

Perforative intervention by Nati Canto, duration: approximately 40 minutes.

Video and photo documentation: Alice Minervini, Sajan Mani, Jiachen Xu, Evdoxia Stafylaraki.

Nati Canto: A Poetry Intervention (One Art by Elizabeth Bishop),“Misplaced Women?” Workshop, Berlin 2018. Photo documentation: Alice Minervini, Sajan Mani, Jiachen Xu, Evdoxia Stafylaraki.

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One Art

By Elizabeth Bishop

The art of losing isn’t hard to master;

so many things seem filled with the intent

to be lost that their loss is no disaster.

…………..

Lose something every day. Accept the fluster

of lost door keys, the hour badly spent.

The art of losing isn’t hard to master.

…………..

Then practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

…………..

I lost my mother’s watch. And look! my last, or

next-to-last, of three loved houses went.

The art of losing isn’t hard to master.

…………..

I lost two cities, lovely ones. And, vaster,

some realms I owned, two rivers, a continent.

I miss them, but it wasn’t a disaster.

………….

—Even losing you (the joking voice, a gesture

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master

though it may look like (Write it!) like disaster.

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Nati Canto: A Poetry Intervention (One Art by Elizabeth Bishop), “Misplaced Women?” Workshop, Berlin 2018. Video-still: Alice Minervini

Nati Canto is Berlin based artist of Brazilian origin. Her work unfolds itself where history and personal space meet, often alternating facts and fiction. Her artistic practice combines heterogeneous materials, from the combination of digital and analog equipment, the use of photography, video performance, and more recently the use of text in order to explore how images assume different meanings depending on the ideologies that shape them.

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Please visit as well other contributions and posts from the same workshops:

Contribution by Mad Kate

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Mapping around Kunsthalle am Hamburger Platz

Contribution by LADY GABY

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by Katja Vaghi

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


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