Posts Tagged ‘moving’

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, March 19 2018.

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.



“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


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)


Dagmara Bilon realised 3 performances on gentrification, home and identity in the frame of “Misplaced Women?” workshop hosted by LADA London, December 13 & 14, 2016

In Homes, London, Performances, Railway-stations, Workshops on March 13, 2017 at 1:12 pm

In the frame of Tanja Ostojić´s “Misplaced Women?” workshop hosted by Live Arts Development Agency London, on December 13 & 14, 2016, Dagmara Bilon realised 3 performance interventions which she has called “embodied investigations into home and identity; a protest against becoming a silenced and isolated as wallpaper, dedicated to the ever-changing landscape of London in the mist of gentrification.” 

For my first intervention I chose to unpack my heavy back-pack on  a street corner in Hackney Wick near the neighborhood’s formerly longest occupied squat. I took of my heavy rucksack from my back and start to unpack. It’s full of various objects, accumulated over time: my childhood toys, my children’s toys, things I need for work, such as gaffe-tape, iPad, mobile phone, cigarettes, wire, lots of stones to ground me, so as not to fly away, a black fabric sphere that symbolised the veil of grief for the loss of my father, white pieces of fabric that I use to collect my menstrual blood, pens, pencils, a toy-snake. As I unpack my bag it feels never ending. Bits and pieces of glitter, receipts, notes… Lots and lots of junk, but to me – a trail of my existence. All the objects are bare on the wet concrete floor. While I see them, I feel uncertain of my survival, slightly embarrassed, like a public emptying of the bowels, spilling of my organs. I don’t dare to look into anyone’s eyes;I start to pack my bag as quickly as I possibly can, stuffing things back inside my dirty old rucksack. But there is always something more, always something else spilling out…




My second performance featured a surreal procession of a displaced female body in a red suitcase, walking in black high heels and black velvet tight leggings over a Bridge in Olympic Park, that leads to London’s biggest shopping mall,Westfield Stratford. In the morning on that day, I took my large red suitcase from my room that contains all my dresses and props from previous London performances. This is when the performance started. I carried the suitcase from my room in South East London to Hackney,down the stairs, down the road, and on public transport. While walking I’m reminiscing of my immigrationat the age of three with my mother from Poland to Germany, with one and only suitcase filled with our possessions. In my associations of a single woman standing by a bus stop with a big red suitcase, symbolises vulnerability danger, but also power. The power to move on. As I travel I notice the eyes of people peeking and then quickly shifting back onto their daily newspaper or smart phone.

Then,  standing by a bridge together with the group of participants from the “Misplaced Woman?” workshop. I open my suitcase and hand my items one by one to individuals in the group. To me this is a most humane and kind experience. To have my items held by others. I take off my golden sandals and step inside my black high heel shoes and through the two holes I have cut in the red suitcase. I squeeze my body into the suitcase and ask a volunteer from the group to lock the suitcase and point me straight over the bridge. I’m inside now, locked in. I can’t see where I am going. My legs are wobbly. The core of my body contorted. I want to speak: “am I going into the right direction?” — but I  don’t have a voice ‘in there’, inside the suitcase. Spontaneously, a member of the group directs me how to walk forwards. I feel even more powerless, cut off and disorientated. I have no choice but to follow instructions and to focus on my feet, to stay on the ground and continue moving forward.


Dagmara Bilon performing “Misplaced Women?” in the Olympic Park, London, in frame of Tanja Ostojic´s workshop (December 2016)



For my third performance, I shared an intervention with three women from the “Misplaced Woman?” workshop at Hackney Wick Overground Station. I chose to locate myself on the other side of the platform. It was not ideal for documenting the action. I deliberately wanted to experience the gap between us and the feeling of loosing side of each other as trains move in and out of the platform.

The last time I saw my father was on the other side of a platform in 1985.

I place my red suitcase on the floor and slowly unpack all my dresses and props from previous London performances. Each of them with a story to tell, the dust of previous locations, the smell of sweat or dump, and leave a trace of these items around me that for a sort of island.

I’m standing in the middle of the island and at last pull out a huge Cunt Sculpture. I stand up on the bench “on my island” and hold up my Cunt up high. A train comes into the platform. People are going in and out. A man takes a picture from within the train. The doors are closing. The train moves out again.

I step off the bench, pack up my suitcase again and as I walk over to the other side of the platform to join the others, a mother with a baby looks at me beaming and asks if it was a vagina that I was holding up?



Text written by Dagmara Bilon

Edited by Tanja Ostojić and Danyel Ferreri

Photos featured in this post taken by the “Misplaced Women?” workshop participants, London, and Aleksandar Utjesinovic


Dagmara Bilon (b.1981) is a London based Polish/German Performance Artist, Co-Founder of The Purple Ladies Performance Collective, Artist Mentor on The Talking Gender Project and Project Manager of The MotherHouse. Since graduating in 2003 from Trinity Laban with a degree in Dance Theater she has worked as a performer for companies such as Punchdrunk, Psychological Art Circus, The Bones Theater, Marissa Carnesky, Ear Cinema and Lundahl&Seitl. Simultaneously she created and produced her own independent performance projects including staged works, sight specific interventions and one to one performances. More recently she focused on developing performance actions that challenge the notions of motherhood and identity and exhibited work alongside The Desperate Art Wives. She has also conducted various community arts led projects engaging young people in the discourse of gender, sexuality and identity. www.dagmarabilon.com

Alice Tuppen-Corps unpacked her suitcase on December 14 2016 and created the “Wherever I Lay My Hat That’s My Home” Performance in Hackney Wick London

In Homes, London, Performances, Workshops on March 13, 2017 at 12:00 pm

Alice Tuppen-Corps unpacked her suitcase on December 14 2016 and created the Wherever I Lay My Hat That’s My Home Performance in Hackney Wick London, in the frame of “Misplaced Women?” performance workshop lead by Tanja Ostojić, hosted by LADA.

Wherever I Lay My Hat That’s My Home, Solo Performance for Film (Private). White Post Lane. 5.30am – 6.30am and Solo Performance for Film (Live Audience) LADA 14th December 2016.

Alice’s research investigates how specific forms of encounter with individual stories and personal objects can act as enabling agents, transforming the emotional, psychological and creative experience of worlds. In this piece, ‘Wherever I Lay My Hat That’s My Home’, the artist took possessions from her own home to include: a portrait of herself aged four years old, an Eiffel Tower gifted to her in Paris by a lover, her broken wedding ring, two lion hats, a whip, a box of matches and a spikey golden hedgehog.

Foremost a filmmaker, (as well as and significantly here a divorcee), Alice experienced the first day of the workshop with Tanja as a ‘watcher’. She absorbed the performances of others whilst waiting for the moment it felt right for her to perform. That moment came in the early hours of the following morning, inspired by the place she encountered as her ‘home for the night’, an artist’s squat in the East End of London.

‘Alice walked in. She was welcomed, perturbed even, by a new world of waiting objects: a guillotine, two dressmaker’s dummies, broken pots, old papers, a crumpled bed. Placing her suitcase on the floor she took off her hat, coat, shoes and she dressed the two dressmaker’s dummies that confronted her. Arranging her portrait amongst the other pictures on the wall she laid out her own vessels, four little dishes and a Van Gogh teddy bear. Alice infiltrated the space through the slow positioning of her objects. She embodied the space as she integrated her objects with those of the absent ‘host’, in this way she re-storyed herself into a new place of belonging. Alice made the squat her home. The two dummies became her ‘animated’ roommates. She re-worked these characters as symbolic of others she had, lost, left, displaced by her leaving her own home and former relationships. Seeing the characters before her, changed and enlivened by her interventions, she saw others and herself more clearly. As the dummies spoke back to with such autobiographical agency, Alice accessed and activated memories that allowed her to reposition herself. She became placed.

Alice Tuppen-Corps Live Performance with Portrait (6)

Alice Tuppen-Corps: Live Performance with Portrait, Photo: Shannon Mulvey

Alice Tuppen-Corps Live Performance with Hat (7)

Alice Tuppen-Corps: Live Performance with Hat

Alice documented the process and re-performed the ‘unpacking’ of the suitcase to a live audience at LADA that evening and in dialogue with onscreen photographs of the objects when in-situ at the squat. In the live, audiences were dressed by Alice and given offerings from the case to ‘care for’, one audience member said that ‘she felt a transformative wave flow over her, issuing out from the performer, touching the audience and drawing them into the co-generation of a [third space], simultaneously journeying inward to self, outward towards performer and across to the screen’.

Video: Wherever I Lay My Hat That’s My Home


Alice Tuppen-Corps is a practice-based Ph.D. Researcher and Digital Performance Lecturer at De Montfort University. She was trained at Goldsmiths College and The Slade School of Fine Art with a background in Broadcast and Media Production, Higher Education and Arts Psychotherapy.  She is a Ph.D. practice-based researcher and artist based in the East Midlands.

She is principally investigating ‘Digital Performance and the Feminine: Transformational Encounters’. In her artistic practice she filmically re-stages individual stories within augmented, networked and tactile environments in order to generate new qualities of reflective space that empower transformation, contemplation and connection. Bracha Ettinger’s concept of ‘Carriance’ is theoretically foreground, allowing ‘the other’ to be ‘within me [him/her] charged’. Alice adopts Ettinger’s concept of ‘Thinking (M) otherwise’ (2006) and performatively facilitates her participants to co-create within matrixial spaces of technological, sculptural, filmic and relational aesthetics. Like a ‘Mobius Strip’, her artworks reciprocally and affectively touch back and within such artistic carriance structures, a hopeful and restorative dance is activated in self and other regardless of sexual or gender identification. www.alicetuppencorps.com


Text: Alice Tuppen-Corps

Video: Shannon Mulvey
Photographs: Alice Tuppen–Corps, Shannon Mulvey

Email: alicecharlotte(AT)myself.com


Seila Fernández Arconada created her Sketches of Distance on December 14 2016 by river Lee at the border of Hackney Wick and Stratford London, in the frame of “Misplaced Women?” performance workshop

In London, Workshops on March 7, 2017 at 2:08 pm

Seila Fernández Arconada created her Sketches of Distance on December 14, 2016 by 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.

@SeilaFA photo1web.jpg

An sketch of distance I (51.544613 -0.022445) Durational performance 45 minutes       

An sketch of distance II  (51.542082, -0.020953) Durational performance 15 minutes

Those two performances were developed in response to the Misplaced Women? workshop led by Berlin based artist Tanja Ostojić. Both actions were presented as spontaneous performances in the public space in two “in between spaces”, a pedestrian bridge and the river Lee bank, both located between Hackney and the new developed Olympic Stadium Park area of Stratford London.

The workshop and this location became context of my actions. Asked to work with my belongings to “interrogate some of the realities of displacement such as travelling, identity, illegality, security, and the private/public”, I began to think of what my personal possessions are and what they mean to me as a migrant, as a woman, as an artist, etc.

In the last years, travelling became part of my working methodology that I consider and work with at many levels including environmental foot print, political and social borders. Belongings, both personal and professional, became a companion mostly connected to functionality. However, as time goes by there are some special items that hold memories and stories that I told in this performance.

The first item that I took out of my backpack was a compass. When this present was given to me in China 10 year ago, I was told: “Carry this compass with you and you will be able to find your home”. Since then I have been carrying this compass with me. The stories told connected to all those items are resonating experiences to the places where they come from; including a scarf given to me in Spain more than 15 years ago, a pair of handmade earrings I never wore that hold the story of an encounter in Medellín (Colombia), a booklet with drawings made with children in Peru, a T-Shirt bought in the central market of La Paz (Bolivia) that contains a conversation with the seller, among others.

@SeilaFA photo2web

@SeilaFA photo3web

I placed all the items, one by one, around the compass to locate them in space, drawing a map out of stories while representing distance. 1.217km away from where I come from, about 2 days and 9 hours duration (Google Maps walking+ferry suggestion)

SeilaFA photo4web
Distance (Oxford Dictionary)   noun, BrE /ˈdɪstəns/

  • the amount of space between two places or things
  • being far away in space or in time
  • a point that is a particular amount of space away from something else
  • a difference or lack of a connection between two things
  • a situation in which there is a lack of friendly feelings or of a close relationship between two people or groups of people.


Seila Fernández Arconada is an independent artist—researcher based in Bristol, UK. She is currently a Moore Institute Visiting Fellow (Ireland) with the project Moving while doing, nomadic artistic perceptions in socio-environmental transitory times. She is a collaborator at the “Art, Research and Feminism” research group (Spain). Recently selected by Gasworks London to join the residency “Migration, Identity and Belonging” (Mauritius). Seila has delivered numerous cross-disciplinary workshops and interventions including Communities Development in Post-Crisis Regions (Ukraine) and exhibited internationally, recently in Imagined Landscapes (RWA, UK), In Between Storage (Latvia) and ENCLAVE Land Art (Spain). Her work focuses in exploring artistic methodology, its boundaries and new social approaches.    www.seilafernandezarconada.net


The text was written by Seila Fernández Arconada

The photographs were taken by Sophie Cullinan


Cherry Truluck, Misplaced Women workshop LADA London, December 13/14 2016.

In London, Performances, Workshops on February 12, 2017 at 2:35 pm

Misplaced Women? Workshop by Tanja Ostojić, 13th—14th December 2016 at LADA London

I have moved house all my life – I’ve lost track of how many homes I’ve lived in but it’s more than 30 – mostly in the UK, but also Germany and Belgium – so I was really drawn to the idea of returning to London (which I left 2 years ago) to be part of the ‘Misplaced Women?’ workshop. And then, in a lovely moment of coincidence that felt like more than that, Tanja decided to open the workshop with a performance in front of the warehouse that used to home ]performance s p a c e[ who – like me, have also escaped London for Folkestone in Kent.

I took in the other performances with interest – the vulnerability that emptying your bag in public created for some was in stark contrast to the way others used the opportunity as a platform to tell a particular story or explore an idea.  I was extremely conscious of our collective role as a mobile audience throughout and began to consider how our behaviour as  audience members focused our attention away from our surroundings – even in a busy shopping mall or the rather eerie Olympic park.  As we assembled and reassembled for each performance, I kept thinking about the ‘everyday’ nature of the root performance – the simple act of emptying and re-packing your bag.  It is the kind of thing that could almost go unnoticed in a crowd…. So I began, slowly, hesitantly (because to be honest I am terrified of the idea of performing) and completely unannounced, to remove each unremarkable object from my bag and arrange them carefully on the bench beside me.  Occasionally I looked around at the other participants, but no-one registered what I was doing as a performance, which suited me just fine.  I repeated the performance four times in total that day – each iteration slightly more exaggerated than the last and capturing the final one on camera whilst everyone ate lunch around me.  I catalogued the items in my bag – nothing had been placed there specially for the workshop but I instinctively wove together a story from the random selection of objects which suddenly seemed to have real personal resonance – as if they had been on a journey with me (further than Folkestone Central to Stratford…).


Please see  Cherry Truluck´video-performance

Cherry Truluck is one half of live art and performance design collaboration, Lucky Bert.

Photo & video: Cherry Truluck

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