MisplacedWomen?

Posts Tagged ‘performance art’

“MISPLACED WOMEN?” Installation is on the exhibit at the “What Makes Another World Possible?” Curated by Corina Apostol, at the Tallinn Art Hall, September 18—December 5, 2021.

In Exhibitions, News on October 30, 2021 at 1:52 pm

What Makes Another World Possible?” (18.09–05.12.2021) curated by Corina Apostol looks at socially engaged art in the last decade and the role of art in social and political struggles. The exhibited works provide an overview of how art has been used as a tool for shaping society in the last decade.

The exhibition includes works by: Alina Bliumis, Zach Blas, Chto Delat?, Vala T. Foltyn, Núria Güell, Sandra Kosorotova, Kristina Norman, Daniela Ortiz, Tanja Ostojić, Lia Perjovschi, Dan Perjovschi, Dushko Petrovich, Urmas Viik and Ala Younis.

Tanja Ostojic: Misplaced Women?, installation view, What Makes Another World Possible?, TAH, Estonia, 2021. Photo: Tanja Ostojic

Corina L. Apostol, the curator of the exhibition, remarks that when compiling the exhibition she was guided by the belief that artists contribute to some of the most crucial debates of our times and that their voices are significant in shaping society and imagining how it could be different. “The work of the artists in this exhibition brings together the various facets of art, activism and global politics,” she says. 

Corina L. Apostol is the co-author of Making Another World Possible (Routledge, Creative Time), which was published in 2019. Both the book and the exhibition examine ten global issues through the prism of socially engaged art projects, including: the militarisation of society, the proliferation of surveillance, entrenched economic inequalities, rising social movements, the displacement of peoples, cosmopolitics, anti-racism struggles, creative education in crisis, queerness and political expression, and new devices enabling political action.

“The global pandemic has only amplified many of these urgent issues, and interest in socially engaged art has grown: it has moved from the margins of the art world to being a central part of the discussion on contemporary art and politics,” Corina L. Apostol says.

On Wednesday, 27 October 6pm a panel discussion with the artists Dmitry Vilensky, Núria Güell and Tanja Ostojić in the exhibition “What Makes Another World Possible?” was organised, moderated by the exhibition curator Corina Apostol.

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Mis(s)placed Women? is an ongoing collaborative art project started in 2009, consisting of performances and performance art workshops, including contributions by over 170 individuals. Many of them are artists, mainly identifying themselves as women from diverse backgrounds. Within this project, we embody and enact some of everyday-life’s activities that thematize displacement, known to migrants, refugees, and the itinerant artists traveling the world to earn their living. Those performances deal with migration issues, power relations and vulnerability, particularly concerning the female and transgender bodies, an aspect that figured prominently in my art practice. With this project, on one side, we are investigating privilege by making a distinction between working mobility, forced or desired migration, and how arbitrary laws may apply, and on the other side, exploring diverse public spaces and the invisibility of certain groups within them. In the frame of this project, in which I apply feminist emancipatory methodologies of artistic and community practices, I conducted numerous workshops globally where the participants are selected by open call. Individual and group artworks and interventions are developed and produced in this frame. The development of collaboration within the group and forming of a community are very precious processes as well as the further communication with a wide audience that we meet on the streets, and targeted audiences in the venues where presentations, exhibitions and discussions take place.  (T. Ostojić)

Tanja Ostojić is exhibiting photos, stories, videos, signs and performance scores from the very rich “MIS(S)PLACED WOMEN?” participatory art project archives in the form of a multimedia installation.

I am grateful to all the participants of the Misplaced Women? project (2009-21) for generous contributions to the project and very pleased that all texts and videos have been translated and are exhibited in three languages: English, Russian and Estonian, and that the Misplaced Women? Installation has been set up so well. Huge thanks to Corina Apostol for her non compromising curation and to the fantastic stuff of the Tallin Art Hall (TAH). – Tanja Ostojić

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Tanja Ostojić: 

MISPLACED WOMEN?

Performance series ongoing since 2009/Project’s Archive, mixed media installation in TAH includes:

Performance Scores:

00.1. Tanja Ostojić: Score #1: Unpacking a Bag of Your Own, 2009.

00.2.  Tanja Ostojić: Score #2: Holding the Misplaced Women? Sign, 2012.

00.3. Tanja Ostojić: Misplaced Women? Sign, a photocopy on paper, 21 x 30 cm, 2019.

Videos:

  1. Tanja Ostojić:  Misplaced Women? Dedicated to the Missing and Murdered Indigenous Women in Canada, 60 minutes performance; performance video, 30 min 30 sec. Performed by Tanja Ostojić, on Sunday, October 16, 2016, in front of the Art Gallery of Ontario, Toronto, Canada, in the frame of  7a*11d  international performance festival. Performance assistance: Eszter Jagica.
  1. A Poetry Intervention by Nati Canto: One Art by Elizabeth Bishop, U-Bahn line U1, Misplaced Women? Workshop Berlin, 2018. Video & photo documentation: Alice Minervini, Sajan Mani, Jiachen Xu, Evdoxia Stafylaraki. Video documentation, 2 min 27 sec.
  1. Performance by Susan Merrick: Misplaced Women?, A Translation of a Travel Diary in British Sign Language, Berlin-Gesundbrunnen Train Station,  Berlin, 2019, video, 2 min 29 sec.
  1. 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 15 sec. Video-recording: Zoltan Nagy.
  2. Tan Tan: A Diary under Wuhan Lockdown, video, 1 min 27 sec. Wuhan, China, 2020.

Work on textile:

6. Marta Nitecka Barche & Tanja Ostojić: Misplaced Women? Banner

49,5 x 181,5 cm, 2016. Canvas, marker, embroidery. Used during the workshop in the public spaces in Torry neighbourhood in Aberdeen, organised as a part of the Aberdeen Festival of Politics 2016.

Photos:

6a. Kirsty Russell and Marta Nitecka Barche performing in front of the public library in Torry neighbourhood in Aberdeen, Misplaced Women? Workshop, Festival of Politics, 2016. Photo: Renée Slater.

7. Luciana Damiani: The Safe Circle, Misplaced Women? Workshop, Park am Nordbahnhof, Berlin, 2019. Photo: Tanja Ostojić.

8. Tan Tan: A Pink River, 60 min performance on “MISPLACED WOMEN?”: “Score 1 – Unpacking a Bag of Your Own”, March 8, 2018, Stadshal, Gent, Belgium, Duration: 1 hour. Photos: Okky Oki, Sara De Vuyst, Sallisa Rosa.

9. 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 Ostojić.

10. Rhea Ramjohn: Which colonial comfort would you like to consume today?, Misplaced Women? workshop, Tempelhoferfeld, Berlin, January 2018. Photo: Tanja Ostojić.

11. Dagmara Bilon: Misplaced Women? in the Olympic Park, London, in frame of Tanja Ostojić´s workshop, December, 2016. Photo: Aleksandar Utjesinovic.

12. Teresa Albor performing in Westfield Shopping Mall, London, December 14, 2016. 1:45-2pm. Misplaced Women? workshop London. Photo: Tanja Ostojić.

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

14. Dagmara Bilon Misplaced Women? performing during refugee week 2017, Pimlico, London. Photo: Rachel Cherry.

15. Tanja Ostojić: Misplaced Women? Intervention, La Grand Escalier de la Gare du Saint Charles a Marseille, France, December 17, 2015.

16. Darija S. Radaković: Misplaced Women?, Calgary, Canada, October 5-11, 2015. Photo: Mick.

17. Tanja Ostojić: Misplaced Women?, 30 min performance at Bergen International Airport, Norway, 2011. Performed by Tanja Ostojić. Photo: Jannicke Olsen.

18. Valentina Medda: Misplaced Women?, Performa New York, 2009. Simultaneous delegated performance and

19. Tanja Ostojić:  Simultaneous performance at Berlin TXL airport, November 21, 2009, 11 p.m Performa. Photo: DNK.

20. Misplaced Women?, Performed by Mare Tralla, Vienna, MUMOK, November 10, 2009. Photo: Tanja Ostojić.

21. Misplaced Women? interventions by LADY GABY, Berlin Weißensee, 23.1.2018. in the frame of Tanja Ostojić´s Misplaced Women? workshop, January 22–24, 2018, hosted by Kunsthalle am Hamburger Platz and Kunsthochschule Berlin Weißensee. Photo: Sajan Mani.

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

23. Misplaced Women? Workshop led by Tanja Ostojić in the frame of Telciu Summer School, Romania, 2018. Photo: Manuela Boatcă. 

24. Missplaced Women? Performed by Anaïs Clercx at Préfecture d’Aix-en-Provence / Police headquarters, city of  Aix-en-Provence, France on December 16, 2015, in the frame of “Missplaced Women?” workshop conducted by Tanja Ostojić. Photo: Tanja Ostojić.

25. Missplaced Women? performed by Tanja Ostojić at Goteborg tram station, September 4, 2015. in the frame of the LIVE ACTION 10, performance festival Goteborg. Photo: Xiao Lu.

26. Misplaced Women? Marking the City, Performed by: Pavana Reid, Mahlet Ogbe Habte, Gillian Carson, Kwestan Jamal Bawan and Karen Kipphoff, on November 2, 2011 on five locations across the city of Bergen that are particularly significant for migrants in the city: Main Train Station, Police Station, BIKS, Bergen International Art Center, Western Union Bank and in front of the Language School for Foreigners. Photos: Mariel Lødum and Karen Kipphoff. Produced by Kunsthall 3.14.

27. Missplaced Women? Performance & Migration Workshop by Tanja Ostojić in Miksalište Belgrade, October 29, 2015. Produced by Remont. Photo: Srdjan Veljović and Lidija Antonović.

28. Branko Milisković: Misplaced Man? performance, Aberdeen Airport, UK, October 29, 2015. “Misplaced Man?” sign, and the photo by Amy Bryzgel.

29. Azad Colemêrg: Misplaced Women? performance intervention. Main train station Zurich, April 2019, Misplaced Women? workshop by Tanja Ostojić. Video-still: contact zone.

30. Misplaced Women? and The Tourist Suitcase, performance by Tanja Ostojić, May 11, 2018, 30 min performance at Hauptbahnhof/main train station, Innsbruck. Art in Public Space Tyrol, Photo: Daniel Jarosch.

31.  Misplaced Women? and The Tourist Suitcase, performance by Tanja Ostojić, May 12, 2018, 60 min Performance by Tanja Ostojić at the Goldenes Dahl, Altstadt, Innsbruck. Art in Public Space Tyrol, Photo: Daniel Jarosch.

Tanja Ostojic: Misplaced Women?, installation view, What Makes Another World Possible?, TAH, Estonia, 2021. Photo: Tanja Ostojic

Related Written Stories published on the Misplaced Women? Blog:

  1. Michelle Lacombe: Tanja Ostojić, Misplaced Women?, Dedicated to the Missing and Murdered Indigenous Women in Canada. 2016, Toronto, Canada.
  2. Nati Canto: One Art by Elizabeth Bishop, Berlin, 2018.
  3. Roberta Weissman Nagy: Misplaced Women?, Score 1/Unpacking a Bag of Your Own, Pula, Croatia. 2020.
  4.  Susan Merrick: Misplaced Women? A Translation of a Travel Diary in British Sign Language, Berlin, 2019.
  5. Tan Tan: Misplaced Self in the Misplaced City, Wuhan, China, 2020.
  6. Marta Nitecka Barche: Marta’s Story, Aberdeen, Scotland, 2015.
  7. Luciana Damiani: The Safe Circle, Montevideo, Uruguay, 2019.
  8. Tan Tan: A Pink River, Gent, Belgium, 2019
  9. Li Fu: Doing Gender 8102.50.3*, Innsbruck, Austria, 2018.
  10. Rhea Ramjohn: Which colonial comfort would you like to consume today?, Berlin, 2018.
  11. Dagmara Bilon: Misplaced Women?,  London, 2016.
  12. Teresa Albor Performing in Westfield Shopping Mall, London, 2016.
  13. Monika Janulevičiūtė: Holding the Misplaced Women? Sign at Vilnius International Airport, Lithuania, 2016.
  14. /
  15. Tanja Ostojić: La Grand Escalier de la Gare du Saint Charles a Marseille, France, 2015.
  16. Darija S. Radakovic: Misplaced Women? Calgary, Canada, 2015.
  17. Tanja Ostojić: Bergen International Airport, Norway, 2011.
  18.  Valentina Medda: Misplaced Women?,  New York, 2009.
  19. Tanja Ostojić: Simultaneous performance at Berlin TXL Airport, 2009.
  20.  Mare Tralla: Misplaced Women?, Vienna, Austria, 2009. 
  21.  LADY GABY: Misplaced Women?, Berlin, 2018.
  22. Bojana Videkanić: Toronto, Canada, 2016.
  23.  Alexandra Tatar’s Story, Telciu, Romania, 2018.
  24.  Anaïs Clercx: Missplaced Women?, Aix-en-Provence, France, 2015.
  25.  /
  26. Misplaced Women? Marking the City, Bergen, 2011.
  27. Tanja Ostojić: Misplaced Women?: One-Day-Long Intense Performance Art Workshop on Migration in the Public Spaces of Belgrade, Serbia October 29, 2015, (first published by Art as Social Action, Ed. G. Scholette, C. Bass, & Social Practice Queens, Allworth Press, New York, 2018
  28.  Branko Milisković: ENTRY CLEARANCE
  29.  Azad Colemêrg: A day with Tanja Ostojić, Zürich, Switzerland, 2019 

Exhibition reviews:

PAC: «What makes another world possible?»: Arte comprometido para un mundo mejor

The Calvert Journal: What Makes Another World Possible? A new exhibition looks at how art shapes our societies

Misplaced Women? Split Station

In Split, Workshops on August 22, 2021 at 5:24 pm

(Scroll down for Croatian)

Tanja Ostojić’s performance workshop “Misplaced Women?” was held from April 6-8, 2021 in Split, organized by platform Culture Hub Croatia (CHC), as part of the year-round program of the project Voids2021. The following participants, selected on the basis of an open call, attended the workshop: Mia Bradić, Ines Borovac, Katarina Duplančić, Lissette Nicole Josseau and Alejandra Robles Sosa, as well, the workshop leader and the organizers from CHC joined as well. A public presentation showcasing the results of the workshop was held on April 8 in the Amphitheater of the Youth Center (Dom Mladih), with participants sharing reflections after their performances.

Tanja Ostojic: “On Rape Attempts”, performance, Peristil, Split, 2021, Photo: Neli Ruzic

“Misplaced Women?” is an art project by Tanja Ostojić consisting of performances, series of performances, workshops and delegated performances, which has been running since 2009, so we were extremely glad to be part of this distinguished project, especially because we managed to gather participants from different profiles and generations, who told their stories, touched upon numerous topics and opened some important questions with their performances.

“Misplaced Women?” workshop was held as part of the program of the project Voids2021, which, among other things, deals with the issue of space, so our work in the public space was above all a natural development of the program. Although so far within the project we have operated mainly in private spaces, or those on the border of public and private (with occasional “trips” to the completely public – as, for example, during last year’s performance of Mia Kevo’s “Common Sense”), in this year’s edition we chose to enrich activities in the public space. Public space, which by definition suggests something accessible to all, nevertheless includes restrictions (for example, determined by pandemic measures or city regulations), which indicate a certain power over the space of those who set these restrictions. At the same time responding to these constraints and challenging them, performance is in this sense a dialogue with the city, with the meanings of its places and public space that is in itself already strongly performative.

“Misplaced Women?” Workshop by Tanja Ostojic, Split, April 2021, video documentation of the workshop, 9 min

As an organization that has been operating without a physical space for work (hub) since its foundation, we are used to carrying out activities nomadically – in the premises of other organizations, cafes, souvenir shops, restaurants. Going out and acting in a public space in our work is a perfectly logical option. However, public space in a pandemic takes on an additional role or, more specifically, in our example, gains in importance – given the existing epidemiological measures and limited capacity of closed / private spaces, we are forced to use public space in our work if we want to carry out certain activities. We met the first challenge of not having our own space on the first day, when the introductory conversation was held and the participants were introduced, both to each other and to the work methodology. Due to the rain, staying outdoors was difficult, so we spent this introductory day on the stairs of the porch of the Fine Arts Gallery, where we learned more about the project “Misplaced Women?”, about different ways to participate and agreed on guidelines for the work on the following day. Participants were given instructions to think about their performance until the next meeting and to choose the personal items they want to use.

On the second day of the workshop, we met in the temporary office of “Voids” – Diocletiano souvenir shop in Bosanska 4. Some of the participants already had a clear picture of what they wanted to do, while the rest of the details formed in the later stage – even literally – being related to locations, as well as specific elements of individual performances. It was interesting to follow the process of developing the very idea of performance that was then taking place.

One of the main principles of the “Misplaced Women?” Platform, community building and building of the safe space for the realization of performances, was reflected in the fact that workshop participants, leaders, organizers, as well as friends of the organisation and gallery formed a dozen women and girls who moved around the city and supported each other especially in the process of the actual performances, collaborating on a creative and organizational level and participating in the works of other participants when it made sense, as well as giving feedback during discussions after each of the performances. By participating in this project, we have all become part of a large international community and were invited to join future international activities and meetings such as Misplaced Community performance weekends, exhibitions and gatherings.

Misplaced Women? workshop, by Tanja Ostojic, Split, April 2021, photo: Neli Ruzic

Finally, places of particular social and historical significance were selected, each corresponding to a particular performance. First, Peristil – as a place of power, in Tanja Ostojić’s performance “On Attempts at Rape” collaborating with Mia Bradić and Alejandra Robles Sosa, served as a place from which a woman is speaking from a “position of power” literally, while opening the public space to expression of trauma while facing with it within that space. 

A different connotation of the Peristil came from the performance by Ines Borovac – with her back turned to the bell tower of Saint Doimus, which in its masculine form towered over the fragile female body, naked and exposed to the storm and the cold.

Riva as a place of display of our own personality, like a catwalk, a place of validation (of women) was used in performance by Nicole Lissete Josseau, inviting us to symbolically leave everything that belongs to us as a decor and constructs our external identity. An interesting link here can be made with a commercial gallery or fair, but with the catwalk, where, in this case humanoid exhibits are on display, observed and evaluated as objects.

Two places – the bus station and the ferry port, as places of transition, crossing, movement, are symbols of nomadic life. They have become places of expression for those who are forced to travel (Mia Bradić) and those who are looking for ways to stay (Alejandra Robles Sosa).

The only performance moved from the city center, the performance of Katarina Duplančić, held on the plateau in front of the Youth Center (Dom Mladih), dealt with the topic of the precarity of cultural workers and the inability to separate private and professional spheres.

Finally, our performance, “Misplaced Organization?” is an act of struggle for the space of action. It was the only performance within the workshop with the score to perform no. 2: holding inscriptions, while the performances of Nicole, Alejandra and Mia took place according to the score for the performance no. 1: unpacking the personal bag. The scores served as an orientation and a frame, and the final form of the performance could be developed inside or outside of them.

Tourists were mostly those participating as public, which did not surprise us. From our experience, local people are mostly either surprised, or hesitant, or completely ignorant (what usually occurs after the initial surprise). This was particularly evident in Nicole’s performance. Thus, she became just another exhibit, almost instantly the subject of observation with somewhat hesitant interest, but without actually joining the performance act or questioning what exactly it was about. Finding new methods to encourage participation is proving to be necessary; however, we consider these individual contributions a significant step and progress.

A wide range of possibilities of reading and interpretation affects our understanding of public space but also our relationship to it. We must constantly remind ourselves that this can be a space of expression and a space of freedom, but that it remains a space in which power relations are very much visible. Therefore, any displacement from it should be questioned evermore.

In the post-production phase, a video of each performance was created, and every participant prepared a text about their work, the process and motivation. Video performances are posted on Misplaced Women? Vimeo channel, and bilingual texts on “Misplaced Women?” blog.

List of performances realised in the frame of “Misplaced Women?” workshop in Split:

“Misplaced Organization?” action by Culture Hub Croatia, Split, 2021, Photo: Andrea Resner

Interview with Tanja Ostojić, Dario Dunatov for vizukultura.hr 

Open Call text

Written & translated by: Culture Hub Croatia

http://culturehubcroatia.hr/en/

Edited and for the first published by Tanja Ostojic on Misplaced Women? blog, August 2021

Misplaced Women?, stanica Split

Radionica performansa Tanje Ostojić „Misplaced Women?“ održala se od 6. do 8. travnja 2021. godine u Splitu, u organizaciji platforme Culture Hub Croatia (CHC), a u sklopu cjelogodišnjeg programa projekta Praznine2021. Na radionici je sudjelovalo ukupno pet polaznica koje su odabrane na osnovu javnog natječaja koji je prethodno bio objavljen: Mia Bradić, Ines Borovac, Katarina Duplančić, Lissette Nicole Josseau i Alejandra Robles Sosa, a u izvođenju performansa pridružile su im se i voditeljica radionice, kao i organizatorice iz CHC-a. Javna prezentacija na kojoj su predstavljeni rezultati radionice održala se 8. travnja u Amfiteatru Doma mladih, pri čemu su sudionice iznijele refleksije nakon izvedenih performansa.

“Misplaced Women?” je umjetnički projekt Tanje Ostojić koji se sastoji od performansa, serija performansa, radionica i delegiranih performansa, a koji traje od 2009. godine, stoga nam je bilo izuzetno drago da smo postale dio ovog značajnog projekta, a posebice što smo uspjele okupiti sudionice različitih različitih profila i generacija, koje su ispričale svoje priče i svojim performansima dotakle brojne teme i otvorile neka važna pitanja.

Radionica “Misplaced Women?” održana je kao dio programa projekta Praznine2021 koji se, između ostalog, bavi i pitanjem prostora, stoga nam je rad u javnom prostoru bio nadasve prirodan slijed programa. Iako smo do sada u okviru projekta djelovali pretežno u privatnim prostorima, ili onima na granici javnog i privatnog (s povremenim „izletima“ u onaj potpuno javni – kao, primjerice, tijekom prošlogodišnjeg performansa Mie Kevo „Common Sense“), ovogodišnje izdanje Praznina odlučile smo obogatiti aktivnostima u javnom prostoru. Javni prostor, koji po svojoj definiciji sugerira nešto svima dostupno, ipak uključuje ograničenja (primjerice, određena protupandemijskim mjerama ili pak gradskim pravilnicima), a koja ukazuju na određenu moć nad prostorom onih koji postavljaju ta ograničenja. Istodobno odgovarajući na ta ograničenja i izazivajući ih, performans je u ovom smislu dijalog s gradom, sa značenjima njegovih mjesta i javnim prostorom koji je sam po sebi već snažno performativan. 

Kao organizacija koja od svog osnutka djeluje bez fizičkog prostora za rad (hub-a), naviknule smo aktivnosti provoditi nomadski – u prostorima drugih organizacija, kafićima, suvenirnicama, restoranima. Izlazak i djelovanje u javnom prostoru u našem se radu otkriva kao jedna savršeno logična opcija. Ipak, javni prostor u pandemiji poprima dodatnu ulogu ili, konkretno, u našem primjeru, dobiva na važnosti – s obzirom na postojeće epidemiološke mjere i ograničenost kapaciteta zatvorenih/privatnih prostora, primorane smo koristiti javni prostor u svom radu ako želimo provesti određene aktivnosti. S prvim izazovom ne-imanja vlastitog prostora susrele smo se već prvog dana radionice, kada je održan uvodni razgovor i upoznavanje sudionica, kako međusobno, tako i s metodologijom rada. S obzirom na kišu, boravak na otvorenom bio je otežan pa smo ovaj uvodni dan provele na stepenicama trijema Galerije umjetnina, gdje smo saznale više o samom projektu “Misplaced Women?”, o različitim načinima sudjelovanja u istom te dogovorile okvirne smjernice za sutrašnji rad. Sudionice su dobile upute da do sljedećeg susreta razmisle o svom performansu i da odaberu osobne predmete koje žele koristiti u njemu.

Drugog dana radionice susrele smo se u privremenom uredu “Praznina” – suvenirnici Diocletiano u Bosanskoj 4. Neke od sudionica imale su već jasnu sliku o onome što žele izvesti, dok se većina detalja iskristalizirala u hodu – pa i doslovnom – kako onih vezanih za lokacije, tako i specifičnih elemenata pojedinih performansa. Bilo je zanimljivo pratiti proces razvoja same ideje performansa koji se pritom odvijao.

Jedan od glavnih principa rada “Misplaced Women?” platforme, comunity buliding  i building of the safe space for the realizaton of performances, ogledao se u tome da su sudionice radionice, voditeljica, organizatorice, kao i prijateljice udruge i galerije formirale grupu od desetak žena i djevojaka koje su se zajedno kretale gradom i podržavale jedna drugu, posebno u procesu realizacije performansa, surađujući na kreativnom i organizacijskom nivou i participirajući u radovima drugih sudionica kada je to imalo smisla, kao i u davanju povratnog mišljenja u procesu diskusije nakon svakog od realiziranih performansa. Sudjelovanjem u ovom projektu sve smo postale i dijelom velike međunarodne zajednice te smo pozvane da se priključimo budućim međunarodnim aktivnostima i susretima Misplaced Community pefromance weekends, exhibitions and gatherings.

U konačnici, izabrana su mjesta od osobitog društvenog i povijesnog značaja od kojih je svaki odgovarao određenom performansu. Najprije, Peristil – kao mjesto moći, u performansu “O pokušajima silovanja” Tanje Ostojić u kojem su sudjelovale Mia Bradić i Alejandra Robles Sosa, poslužio je kao mjesto s kojeg žena koja progovara s „pozicije moći“ u doslovnom smislu, pritom otvarajući javni prostor za izražavanje traume i suočavanje s njom unutar njega.  

Drugačija konotacija Peristila proizašla je iz performansa Ines Borovac – okrenute leđima zvoniku svetog Duje, koji se u svom maskularnom  obliku nadvio nad krhko žensko tijelo, ogoljeno i izloženo buri i hladnoći.

Rivu kao mjesto izlaganja, poput modne piste, te mjesto vrednovanja (žene) iskoristila je u svom performansu Nicole Lissete Josseau, pozvavši da simbolično ostavimo sve ono što nam pripada kao dekor i konstruira naš vanjski identitet. Zanimljiva je ovdje korelacija i s komercijalnom galerijom ili sajmom, osim one s modnom pistom, gdje se, a u ovom slučaju humanoidni, eksponati izlažu, promatraju i vrednuju na temelju izloženog. 

Dva mjesta – autobusna stanica i trajektna luka, kao mjesta tranzicije, prelaska, kretanja, simboli su nomadskog života. Postala su to mjesta ekspresije onih koji su primorani putovati (Mia Bradić) i onih koji traže načine za ostanak (Alejandra Robles Sosa).

Jedini izmješten iz centra grada, performans Katarine Duplančić, održan na platou ispred Doma mladih, dotaknuo se tema prekarnog rada kulturnih djelatnika/ca i nemogućnosti odvajanja privatnog i profesionalnog.

Konačno, naš performans, “Misplaced Organization?” čin je borbe za prostor djelovanja. Bilo je to jedino poigravanje s partiturom za izvođenje performansa br. 2: držanje natpisa u okviru radionice, dok su se performansi Nicole, Alejandre i Mie odvili prema partituri za izvođenje performansa br. 1: raspakivanje osobne torbe. Partiture su poslužile kao orijentacija i okvir, a konačna forma performansa mogla se razviti unutar ili izvan njih.

Za participaciju od strane javnosti uglavnom su bili zaslužni turisti, što nas nije iznenadilo. Iz našeg iskustva, lokalno stanovništvo je uglavnom ili zatečeno ili oklijeva, ili potpuno (i najčešće, a što se obično događa nakon prvotne zatečenosti) ignorira. To je osobito došlo do izražaja u performansu Nicole. Ona je tako postala samo još jedan eksponat, gotovo instantno predmet promatranja, s ponešto oklijevajućim interesom, ali bez stvarnog pridruživanja izvedbenom činu ili pak propitkivanja o čemu se točno radi. Iznalaženje novih metoda za poticanje participacije pokazuje se kao nužnost; ipak, i najmanji pomaci po tom pitanju u vidu individualnih doprinosa vidimo kao značajan korak.

Širok raspon čitanja i interpretacija utječe na naše razumijevanje javnog prostora, ali i odnosa prema njemu. Moramo se konstantno podsjećati da to može biti prostor izražavanja i prostor slobode, ali da je još uvijek prostor u kojem se odnosi moći itekako manifestiraju. Stoga svako izmještanje iz njega treba zauvijek propitivati.

U fazi postprodukcije uz svaki performans realiziran je i video, a svaka od sudonica reflektirala je u tekstu o radu vlastite procese i motivaciju. Video performansi su objavljeni na “Misplaced Women?” Vimeo kanalu, a dvojezični tekstovi na “Misplaced Women?” blogu.

Performansi realizirani u okviru radionice “Misplaced Women?” u Splitu:

  1. “Misplaced Latina”, Alejandra Robles Sosa
  2. #NismoSamoUkras, Lissette Nicole Josseau
  3. “Routine” Mia Bradić
  4. “Feminizam oprašta”, Ines Borovac
  5. Self-exploitation” Katarina Duplančić
  6. “O pokušajima silovanja”, Tanja Ostojić
  7. “Misplaced Organization?”, Culture Hub Croatia

Intervju s Tanjom Ostojić, Dario Dunatov za vizukultura.hr 

Video-dokumentacija radionice, 9 minuta

Tekst javnog natječaja

Autorice teksta i prevoda: CHC

culturehubcroatia.hr

Katılımcılara Açık Çağrı: Tanja Ostojić’in Mis(s)placed Women? Performans Atölyesi İstanbul’un sokaklarında

In Istanbul, News, Workshops on August 11, 2021 at 7:11 pm

Open Call in ENGLISH (click and follow the link)
Scroll down for German / Nach unten scrollen für Deutsch  


7-9 Eylül 2021 tarihleri arasında, Tanja Ostojić ile İstanbul’un çeşitli kamusal alanlarında gerçekleşecek 4 günlük performans sanatı atölyesi Mis(s)placed Women?, uluslararası performans sanatı platformu Performistanbul ve Tarabya Kültür Akademisi işbirliğiyle düzenleniyor. Atölye, 25 Eylül Cumartesi günü, Beykoz Kundura Sineması’nda gerçekleşecek halka açık sunum ile sona eriyor. Tarabya Kültür Akademisi’nde konuk edildiği süre kapsamında gerçekleştirdiği atölyede Ostojić, bireylerin yerinden edilme deneyimleri üzerinden Canlı Sanat pratikleri ile metodolojilerini araştırıyor. Başvuru için son tarih 31 Ağustos 2021.

Tanja Ostojić’in 2009 yılından bu yana devam eden  Mis(s)placed Women? sanat projesi,  uluslararası sanatçılarla farklı sosyal çevrelerden gelen kişilerin katkılarını da içeren performanslar, performans serileri,  atölye çalışmaları ve temsili performanslardan oluşuyor.  Bu proje kapsamında, geçici veya uzun süreli göçmenler, savaş ve doğal afet mültecileri ile queerler, evsizler… ve hayatlarını kazanmak için dünyayı dolaşan gezgin sanatçıların da çok iyi bildiği, yerinden edilmeyi konu alan bazı günlük yaşam faaliyetleri somutlaştırılıp hayata geçiriliyor. Bu performanslar, Ostojić’in geçmiş birçok çalışmasında öne çıkan nitelikteki, hareket hâlinde olma ve özellikle de kadın bedeni üzerinden göç temaları ile güç ve kırılganlık ilişkilerini incelemeyi sürdürüyor.

Misplaced Women? performance by Tanja Ostojić on the La Grand Escalier de la Gare du Saint Charles a Marseille, 2013. With the participation of: Jane Kay Park, Emma-Edvige Ungaro, Alix Denambride, Kim Mc Cafferty, Robyn Hambrook, Helen Averley, Patricia Verity and Tanja Ostojić, Préavis de Désordre Urbain, Marseille

Atölye, sürecin tamamına katılmayı kabul eden, tüm yaş, cinsiyet, köken, sosyal çevre gruplarından, deneyim seviyesi gözetmeksizin herkese açıktır.  Göç, performans sanatı, kendini kadın olarak tanımlamanın beraberinde getirdiği koşullar, toplumsal cinsiyet temsilleri ile kamusal alanda sanat konularına ilgi duyanları özellikle davet ediyoruz. Katılımcılar, göç, marjinalleşme, yerinden edilme, maruz kalma ve ayrıcalıklı olma konularındaki deneyimlerini karşılıklı paylaşmaya ve Mis(s)placed Women? performanslarının bazılarını hayata geçirmeye davet ve teşvik ediliyor. Atölye ücretsiz olup, içecek, atıştırmalık ve yemek ikramı ile katılımcıların çalışmalarının profesyonel fotoğraf ve video dokümantasyonu sağlanacak.  Sınırlı sayıda yer olması nedeniyle katılmak isteyenlerden başvuru yapmalarını önemle rica ediyoruz. (Başvuru bilgileri aşağıdadır.) Atölye İngilizce dilinde gerçekleşiyor. Katılımınız için herhangi bir özel gereksiniminiz olması durumunda, motivasyon mektubunuzda konuyu bizimle paylaşmanızı rica ederiz, örneğin işaret dili çevirisi vb. ihtiyaçlar için…

Atölye ve sunum sürecinde Koronavirüsün yayılmasını engellemek adına tüm hijyen önlemleri uygulanacaktır. Katılımcıların tümü kamusal alanlarda performans sergileme imkânına sahip olacak ve atölyenin çıktıları, dokümantasyon görüntülerinin de yer aldığı halka açık bir söyleşi formatında kamuoyuna sunulacak ve Misplaced Women? sanat projesinin proje blogu ile proje arşivine dâhil edilecek.

Program:

Atölye: 7-9 Eylül Salı, Çarşamba ve Perşembe. 11:00-17:00 arası (Molalar dâhil). İlk toplantı ve tanışma Performistanbul’un Galata’daki binasında, geri kalan atölye ve performanslar ise İstanbul’un çeşitli semtlerinde gerçekleşecek. 

25 Eylül Cumartesi günü saat 17:30’da Beykoz Kundura Sinema’sında izleyicilerin de katılabileceği, atölye sunumları hakkında katılımcılarla söyleşi gerçekleştirilecek.

Başvurular için son tarih Salı günü, 31 Ağustos 2021.

Başvuranlara en geç 6 Eylül tarihine kadar bilgi verilecektir.

Atölye ve başvuru hakkında detaylı bilgileri aşağıda bulabilirsiniz:

Sanatçı ve Atölye Yürütücüsü Hakkında:

Tanja Ostojić 1972 yılında Yugoslavya’da dünyaya geldi. Disiplinlerarası çalışan performans sanatçısı. Uluslararası platformda kurumsal cinsiyet eleştirisi alanının öncülerinden olan sanatçı, toplumsal ve siyasal katılım temelli feminist sanat ve kamusal alanda sanat çalışmalarıyla tanınmaktadır. Sanatsal çalışmaları üst düzey teorik referanslar içermekte olup, çok sayıda kitap, dergi ve antolojide incelendi. The Guardian tarafından yakın zamanda Looking for a Husband with EU Passport (2000-05) çalışması ile 21. yüzyılın en iyi 25 sanatçısı arasına seçildi.

Ostojić, Sırbistan’da Belgrad Sanat Üniversitesi’nde Heykel, Fransa’da École Régionale des Beaux-Arts Nantes’ta Serbest Sanat öğrenimi gördü, Universität der Künste Berlin’de disiplinlerarası araştırmalar alanında Albert Einstein araştırma bursu kapsamında çalışmalarını sürdürdü (2012-14). Çeşitli bağışlar ve ödüller aldı; 1994’ten beri performansları ve sanat eserleri dünya çapında birçok önemli sanat mekanına ve festivale ulaştı. Eserleri önemli müze koleksiyonlarının bir parçasıdır, Avrupa ve Amerika çevresindeki akademik konferanslarda ve sanat üniversitelerinde konuşmalar, konferanslar, seminerler ve atölyeler vermiştir.

Tanja Ostojić Haziran ile Eylül 2021 tarihleri arasında Tarabya Kültür Akademisi konuk sanatçısı olarak İstanbul’da bulunuyor.

Atölye Hakkında:

Mis(s)placed Women? projesi, kamusal bir alanda bavul, poşet, el çantası ya da benzeri bir nesnenin içinin açılarak boşaltılmasını içerirken bu nesneler yoluyla geçici ve süreli göçmenlerin, evsizlerin, savaş ve doğal afet mültecilerinin günlük deneyimlerinde yaygın bir tema olan yerinden edilme hâlini temsil ediyor. Atölye, katılımcıları bu konularla ilişki kurdurarak, onları tartışmaya açmaya ve çeşitli kamusal alanlarda müdahalelerde bulunmaya teşvik etmeyi amaçlıyor.

Atölyenin ilk bölümü, bir araya gelme, bilgilendirme ve iletişim kurmayı içeriyor; bu sayede katılımcılar bireysel deneyimleri ile projenin amaçları hakkında birbirleriyle fikir alışverişinde bulunabiliyor.

İkinci bölüm sürecinde katılımcılar, İstanbul’un sokak, park ve istasyonlarında canlı performanslar ile müdahaleler gerçekleştirmeye teşvik edilip destekleniyor. Halka açık olan performanslarla  atölye süreci, profesyonel fotoğraf ve video ekibi tarafından belgelenecek.

Atölyenin dördüncü gününde, Beykoz Kundura’nın Sinema’sında atölye çalışmalarından kesitler izleyicilere sunulacak. Atölyenin tüm katılımcıları sunuma ve sonrasında gerçekleşecek olan söyleşiye etkin olarak katılmaya davetlidir.

Atölyenin dokümantasyonu, notları, yazılı metinleri ile yansımaları Performistanbul tarafından toplandıktan sonra editlenmiş ve çevrilmiş hâliyle Mis(s)placed Women? sitesinde yayınlanacak.  

Nasıl başvurulur:

Atölye, sürecin tamamına katılmayı kabul eden, tüm yaş, cinsiyet, köken sosyal çevre gruplarından, deneyim seviyesi gözetmeksizin herkese açıktır. Katılımınız için özel gereksiniminiz olması durumunda, motivasyon mektubunda konuyu bildirmenizi rica ederiz.

Atölye ücretsiz olup, sınırlı sayıda yer olması nedeniyle ilgilenen kişilerin katılmak için başvuru yapmasını rica ediyoruz. Başvurmak için, başvuru formunu doldurabilir veya kısa motivasyon mektubunuz ile biyografinizi içeren metinleri misplacedwomen@performistanbul.org adresine gönderilebilir. Kişisel bilgilerinizle – eğer varsa – internet sitenizi de paylaştığınız bilgilere ekleyebilirsiniz. 

Atölye Tarihleri:

Atölye: 7-9 Eylül Salı, Çarşamba ve Perşembe. İstanbul’un farklı semtlerinde 11:00-17:00 arası (Molalar dâhil).

Atölye sonuçları ve halka açık sunum: 25 Eylül Cumartesi, 17:30

Başvurular için son tarih Salı günü 31 Ağustos 2021.

Başvuranlara en geç 6 Eylül tarihine kadar bilgi verilecektir.

İlave linkler:

Misplaced Women? project

Misplaced Women? Video Channel 

Tanja Ostojić, books

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

Tüm sorularınız için lütfen iletişime geçiniz:misplacedwomen@performistanbul.org

———– DEUTSCH / GERMAN ——–

Open Call: Mis(s)placed Women? Ein Performance-Workshop im öffentlichen Raum Istanbuls von Tanja Ostojić

Open Call für die Teilnahme am 4-tägigen Performance-Kunst-Workshop Mis(s)placed Women? mit Tanja Ostojić, der vom 7. bis 9. September 2021 an verschiedenen öffentlichen Orten in Istanbul stattfinden wird. Der Workshop wird organisiert von der internationalen Performance-Kunst-Plattform Performistanbul in Zusammenarbeit mit der Kulturakademie Tarabya, gefolgt von einer öffentlichen Präsentation der Ergebnisse im Beykoz Kundura Cinema am Samstag, den 25. September. Der Workshop findet während Ostojićs Aufenthalt an der Kulturakademie Tarabya statt und erforscht Praktiken und Vorgehensweisen der Live Art in Zusammenhang mit individuellen Erfahrungen der Vertreibung im weitesten Sinne. Bewerbungsschluss ist Dienstag, der 31. August 2021.

Score #2: Holding the Misplaced Women? Sign: Taxi driver holding the Misplaced Women? sign on the Istanbul International Airport.
June 1, 2021. Photo: Tanja Ostojić 

Mis(s)placed Women?  ist ein von Tanja Ostojić 2009 begonnenes Kunstprojekt, das aus Performances, Performance-Serien, Workshops und Performances von Künstler:innen aus aller Welt mit Menschen unterschiedlichster Herkunft verwirklicht wird. Im Rahmen dieses Projekts werden alltägliche Aktivitäten von Menschen die Vertreibung erlebt haben verkörpert und gezeigt  VonMigrant:innen, Kriegs- und Katastrophenflüchtlinge, ebenso wie genderqueeren Menschen, Obdachlosen, Menschen auf der Durchreise… und die durch die Welt reisenden Künstler:innen, die so ihren Lebensunterhalt bestreitenDiePerformances setzen sich mit Themen der Migration und der Beziehungen von Macht und Verletzlichkeit hinsichtlich des bewegten und insbesondere des weiblichen Körpers auseinander, ein Aspekt, der bereits in zahlreichen früheren Arbeiten von Ostojić eine tragende Rolle spielte.

Teilnehmende jeder Herkunft, aller Altersgruppen, Genders und Erfahrungsgrade sind herzlich eingeladen sich zu bewerben. Wir möchten insbesondere diejenigen ermutigen teilzunehmen, die sich für Fragen der Migration, Performance-Kunst, Bedingungen für diejenigen, die sich als Frauen identifizieren, Darstellungen von Geschlecht und Kunst im öffentlichen Raum interessieren. Die Teilnehmenden sind eingeladen und dazu angehalten, Erfahrungen und Themen wie Migration, Marginalisierung, Vertreibung, Ausgesetztheit und Privilegien zu erörtern und auszutauschen sowie einige der Misplaced Women? Performances zu erarbeiten. Der Workshop ist kostenlos, für Erfrischungen und eine leichte Mahlzeit ist gesorgt, eine professionelle Foto- und Videodokumentation der Arbeiten der Teilnehmenden wird ebenfalls zur Verfügung gestellt. Da die Anzahl der Plätze begrenzt ist, bitten wir Sie, sich anzumelden. Der Workshop wird in englischer Sprache abgehalten; teilen Sie uns in Ihrem Motivationsschreiben bitte etwaige besondere Bedürfnisse mit, damit wir versuchen können, Übersetzungen für z. B. sehbehinderte Personen und Gebärdensprache für hörgeschädigte Teilnehmende etc. anzubieten.

Während des Workshops und der Präsentation werden alle erforderlichen Hygienemaßnahmen zum Schutz vor der Verbreitung des Coronavirus befolgt. Alle Teilnehmenden werden die Möglichkeit haben, im öffentlichen Raum zu performen, und die Ergebnisse werden der Öffentlichkeit in Form eines Publikumsgesprächs in Verbindung mit Bildmaterial präsentiert und in den Blog des Projekts Misplaced Women? sowie in das Projektarchiv aufgenommen.

Zeitplan:

Workshop: Dienstag, Mittwoch und Donnerstag, 7. bis 9. September. Von 11:00 bis 17:00 Uhr (einschließlich Pausen). Das erste Treffen und die Einführungssession finden im Gebäude von Performistanbul in Galata statt, der Rest des Workshops und die Performances werden in verschiedenen Vierteln Istanbuls durchgeführt.

Ein Gespräch über die Ergebnisse des Workshops mit den Teilnehmenden und der Öffentlichkeit findet am Samstag, den 25. September um 17:30 Uhr im Beykoz Kundura Cinema statt.

Die Bewerbungsfrist endet am Dienstag, den 31. August 2021.

Alle Bewerber:innen werden bis spätestens 6. September benachrichtigt.

Nachstehend finden Sie weitere Informationen über den Workshop und die Bewerbungsmodalitäten:

Über die Künstlerin und Workshopleiterin:

Tanja Ostojić (*1972) ist eine renommierte, in Berlin lebende, in Jugoslawien geborene Performance- und interdisziplinäre Künstlerin, die auch in den Bereichen Forschung und Bildung tätig ist. Sie ist international bekannt als Pionierin der institutionellen Geschlechterkritik und der sozial und politisch engagierten feministischen Kunst im öffentlichen Raum, insbesondere im Kontext von Migrations- und Genderfragen. Ihre Kunstwerke haben einen hohen theoretischen Referenzgrad und wurden in zahlreichen Büchern, Zeitschriften und Anthologien besprochen und veröffentlicht. Der British Guardian bezeichnete Ostojić kürzlich als eine der 25 besten Künstler des 21. Jahrhunderts und würdigte damit ihr Projekt “Looking for a Husband with EU Passport” (2000-05).

Ostojić studierte an der Universität der Künste Belgrad und der École Régionale des Beaux-Arts Nantes, während sie 2012-14 Stipendiatin an der Graduiertenschule für die Künste und Wissenschaften an der Universität der Künste Berlin war. Sie hat etliche Stipendien und Preise erhalten; ihre Performances und Ausstellungskunstwerke haben sie seit 1994 zu zahlreichen wichtigen Kunststätten und Festivals weltweit geführt. Ihre Werke sind Teil bedeutender Museumssammlungen, sie hat Vorträge, Vorlesungen, Seminare und Workshops auf wissenschaftlichen Konferenzen und an Kunsthochschulen in Europa sowie in Nord- und Südamerika gehalten. 

Ostojić ist derzeit Stipendiatin der Kulturakademie Tarabya in Istanbul (Juni-September 2021).

Über den Workshop:

Das Projekt Mis(s)placed Women?  beinhaltet das Auspacken eines Koffers, einer Plastiktüte, einer Handtasche oder eines ähnlichen Objekts im öffentlichen Raum, wobei diese Objekte für das Thema Vertreibung stehen, das in den alltäglichen Erfahrungen von Transitreisenden, Migrant:innen, Obdachlosen, Kriegs- und Katastrophenflüchtigen vorkommt. Der Workshop zielt darauf ab, die Teilnehmenden mit den Themen vertraut zu machen und Diskussionen und Interventionen in der Vielfalt des öffentlichen Raums anzuregen.

Der erste Teil des Workshops umfasst ein Kennenlernen, Informieren und Kommunizieren, wobei sich die Teilnehmenden über individuelle Erfahrungen und die Ziele des Projekts austauschen sollen.

Während des zweiten Teils werden die Teilnehmenden ermutigt und dabei unterstützt, Live-Performances und Interventionen in den Straßen, Parks und Bahnhöfen Istanbuls zu verwirklichen. Die öffentlichen Performances und der Workshopverlauf werden von einem professionellen Foto- und Videoteam dokumentiert.

Die Ergebnisse des Workshops werden zwei wochen später im Beykoz-Kundura Cinema der Öffentlichkeit vorgestellt. Alle Teilnehmenden des Workshops sind herzlich eingeladen, sich aktiv an dieser Präsentation und der anschließenden Diskussion zu beteiligen.

Die Dokumentation, die Aufzeichnungen, die gesammelten Texte und die Reflexionen des Workshops werden von Performistanbul zusammengetragen und später bearbeitet, übersetzt und auf der Webseite des Projekts Mis(s)placed Women? veröffentlicht und werden Teil des Projektarchivs, das dem Publikum über Ausstellungen zugänglich gemacht wird. 

Wie Sie sich bewerben können:

Wir bitten Teilnehmende zu gewährleisten, dass sie an allen Terminen des Workshops und der Dokumentation anwesend sein können. Wir freuen uns auch über Interessent:innen mit jeglicher Art von Beeinträchtigung. Bitte geben Sie in Ihrer Bewerbung etwaige besondere Anforderungen an.

Die Veranstaltung ist kostenlos, jedoch bitten wir interessierte Personen, sich zu bewerben, da die Anzahl der Plätze begrenzt ist. Bewerber:innen werden gebeten, das Bewerbungsformular auszufüllen oder eine E-Mail mit einem kurzen Abschnitt über ihre Motivation und ihren Lebenslauf an misplacedwomen@performistanbul.org zu senden. Gerne können Sie einen Link zu Ihrer persönlichen Homepage hinzufügen, falls vorhanden, sowie Angaben zu Ihren Kontaktdaten.

Termine des Workshops im Überblick: 

Workshop: Dienstag bis Donnerstag, 7. bis 9. September. Von 11:00 bis 17:00 Uhr (inklusive Pausen) in verschiedenen Vierteln Istanbuls.

Besprechung der Ergebnisse des Workshops und öffentliche Präsentation: Samstag, 25. September, 17:30 Uhr

Die Bewerbungsfrist endet am Dienstag, den 31. August 2021.

Die Bewerber:innen werden bis spätestens 6. September benachrichtigt.

Weiterführende Links:

Misplaced Women? Project

Misplaced Women? Video Channel

Tanja Ostojić, Bücher

Performistanbul

Tarabya Cultural Academy/ Kulturakademie Tarabya/ Tarabya Kültür Akademisi 

Für jegliche Anfragen wenden Sie sich bitte an: misplacedwomen@performistanbul.org

Feminism Forgives

In Performances, Split on May 5, 2021 at 11:01 pm

Ines Borovac developed and performed for the first time Feminism Forgives in front of the Saint Domnius Cathedral in Split on April 7, 2021, in the frame of Misplaced Women? workshop led by Tanja Ostojić, inviting the audience to embody sexually liberated Mary Magdalene, the role of institutionally stigmatised woman and the unexplored powers she carries…

Feminism Forgives

Contribution by Ines Borovac 

During my adolescence age, I have been faithfully attending the Sunday mass as considering myself Christian. Unfortunately, my approach towards Church was superficial at a time. Looking at it now, it is clear I was motivated by the lack of religious diversity in my social and family circle. I didn’t pay much attention to what the priest was saying nor applying or understanding the ideology of the Christian community as much. Nonetheless, my physical presence was soaking up the Christian ideologies, more then I wanted and could control. The influence was undeniably present inside of my body. Entering the sexual awakening as a teenager, I was a little bit disappointed. The intensity of the sexual desire was not as expected, on the contrary, it was barely present. Whereas, when the desire would appear, it would come in bursts and would make me feel uncomfortable, dirty and guilty for feeling the pleasure I was allowed to feel.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić
Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Croatia is still a religiously homogenous country where more than 90 percent of the population is identifying as Christian, not leaving the young generations much space to explore and own their body and identity. Thus, the performative piece is inviting the audience to identify with the character of sexually liberated Mary Magdalene. With the symbolic gesture of washing the feet (just like Mary Magdalene did to Jesus when she was asking for redemption for her sins), performative act is inviting the audience to embody the role of institutionally stigmatized woman and the unexplored power she carries. Contrary to the Biblical story, the audience was not washing the feet of the forgiver’s body (Jesus) but mine, feminist body with the red letters written on my chest saying “feminism forgives”. Wearing nothing but a skirt and bra, I set exposing my feminine vulnerability radiating the motherly strength of understanding and care. Therefore, instead of begging for forgiveness, with the gesture of washing the feet of the misplaced feminist body, I took a role of the medium through which one is encouraged for the “sins”, opposite to the atonement and change.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

The performative act took place in front of one of the oldest churches in the region, the Cathedral of Saint Domnius (Katedrala Svetog Duje) on April 7, 2021. The performance lasted 30-40 minutes, influenced by the weather conditions, cold wind, low temperatures and very cold stone ground, my wet feet were lying on. I could not help but notice that the people leaving or entering the Cathedral were ignoring the performance, acting like it wasn’t happening (avoiding the eye contact and bypassing), – which could be seen as denying such realities and rejecting liberated female bodies from the Christian community, labelling them as marginalised bodies. Parents were turning away their curious children looks or even changing the walking route not to confront the performance. Ironically, while I was taking off my clothes, the male passers stopped to observe and show interest, showing us the transparency of the patriarchal culture in Croatia. Apart from female participants of the workshop, there were other brave woman who challenged their inner Mary Magdalene and participated in activation the performance. At this point the performance expanded from the workshop circle towards the interaction with other bodies, making me endlessly happy.

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Video: Andrea Resner

On this occasion, I would like to thank all the women who’ve embraced Mary Magdalene during the performance (Kristina Tešija, Lissette Nicole Josseau, Alejandra Robles Sosa, Jasmina Šarić, a group of South-American tourist girls, Tanja Ostojić, Mia Bradić, Neli Ružić…) and the ones who are still carrying and searching for her inside themselves. Thank you Tanja Ostojić for holding the workshop and all the other beautiful participants I met; Culture Hub Croatia girls for organisation and confronting the Split with such topics; Andrea Resner for commitment and creation of the digital archive.

Ines Borovac (b.1996) is a student at Design Academy Eindhoven (NL) where she is enrolled on the Masters program of Social Design. In her design work, she is often working with performance and body as the locus for social change and critique. Ines is currently working on her thesis project where she is researching the topic of patriarchy in Croatia, performativity of the patriarchal values and Croatian traditional dance. She holds a bachelor degree from the School of Design, Zagreb

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Text written by: Ines Borovac

Edited and first published by Tanja Ostojić on the Misplaced Women? Project Blog, May 4, 2021

Translation from English to Croatian (see below): Ines Borovac

Copy editing: Cultural Hub Croatia (CHC)

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. 

Performed by: Ines Borovac

Performance assistance: Alejandra Robles Sosa

Photos: Tanja Ostojić and Neli Ružić

Video recording & editing: Andrea Resner

Hosted and organised by CHC in the frame of Voids2021 

Production: Misplaced Women? Project, ongoing since 2009

Instagram: @lochnesi

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Croatian/ HR PRIJEVOD 

Lokacija: Katedrala Svetog Duje

Feminizam oprašta

Tijekom adolescentske dobi vjerno sam prisustvovala nedjeljnim misama. Smatrala sam se  kršćankom, ali, nažalost, moj pristup prema Crkvi bio je površan. Gledajući to sada, jasno je da me je motivirao nedostatak vjerske raznolikosti u mom društvenom i obiteljskom krugu. Nisam obraćala mnogo pažnje na to što svećenik govori, niti primjenjivala ili razumijevala ideologiju kršćanske zajednice. Unatoč tomu, moja fizička prisutnost upijala je kršćanske ideologije više nego što sam htjela i mogla kontrolirati. Utjecaj je nedvojbeno bio prisutan unutar moga tijela. Doživjevši seksualno buđenje kao tinejdžerica, bila sam pomalo razočarana. Intenzitet seksualne želje nije bio onakav kakav sam očekivala, već naprotiv, bio je jedva prisutan. Kada bi želje došla u valovima, osjećala bih se nelagodno, prljavo i krivo zbog osjećaja užitka koji mi je bio dozvoljen. 

Hrvatska je još uvijek vjerski homogena zemlja u kojoj se više od 90 posto stanovništva identificira pripadnicima kršćanske religije, a to mladim generacijama ne ostavlja puno prostora za istraživanje i posjedovanje vlastitih tijela i identiteta. Dakle, ovaj performans poziva publiku da se identificira s likom seksualno oslobođene Marije Magdalene. Simboličnom gestom pranja nogu (baš kao što je to učinila Marija Magdalena Isusu kad je tražila iskupljenje za svoje grijehe), performativni čin poziva publiku da utjelovi ulogu institucionalno žigosane žene i neistražene moći koju ona nosi. Suprotno biblijskoj priči, publika nije prala stopala tijela onomu koji oprašta (Isusu), već feminističkom tijelu (autorici) kojem je na grudima napisano “feminizam oprašta”. Noseći samo suknju i grudnjak, otkrila sam svoju žensku ranjivost zračeći majčinskom snagom razumijevanja i brige. Stoga, umjesto da moli za oprost, gestom pranja nogu mog “misplaced” feminističkog tijela, sam utjelovila medij kroz kojeg se potiče na “grijehe”, suprotno pokajanju i promjeni.

Performans se odvio ispred jedne od najstarijih splitskih katedrala, Katedrale svetog Duje, 7. travnja 2021. Trajao je 30-40 minuta zbog vremenskih neprilika poput hladnog vjetra, niskih temperatura i iznimno hladnog kamena na kojem su stajala moja mokra stopala. Nisam mogla ne primjetiti da su ljudi koji su ulazili ili izlazili iz katedrale ignorirali perfromans ponašajuci se kao da se ne odvija (izbjegavanje kontakta očima i zaobilaženje mog tijela) što može ukazati na njihovo nijekanje sličnih stvarnosti i odbacivanje oslobođenih ženskih tijela od strane krščanske zajednice označavajući ih kao maginalizirana tijela. Roditelji sa djecom su sklanjala znatiželjne poglede svoje djece ili čak promijenili rutu svog kretanja da izbjegnu prostor performansa. Ironično, dok sam skidala odjeću, muški prolaznici bi se zaustavilis ciljem da promatraju te su pokazali zainteresiranost ukazujući na transparentnost patrijahalne kulture u Hrvatskoj. Nakon što sam se smjestila na stolac i pozvala publiku na sudjelovanje, osim sudionica radionice u performansu su sudjelovale ostale hrabre žene i izazvale unutarnju Mariju Magdalenu. U ovom trenutku perfomans je izišao iz kruga radionice u interakciju s ostalim tijelima što me je učinilo neimjerno sretnom. 

Ines Borovac: “Feminism Forgives” Misplaced Women? workshop Split, 2021. Photo: Tanja Ostojić

Ovom prilikom želim zahvaliti svim ženama koje su prigrlile Mariju Magdalenu tijekom nastupa i onima koje je još uvijek nose i traže u sebi. Hvala Tanji Ostojić na održavanju radionice i svim ostalim lijepim sudionicima koje sam upoznala; curama iz Culture Hub Croatia za organizaciju i suočavanje Splita sa sličnim temama; Andrei Resner za angažman i stvaranje digitalne arhive.

Ines Borovac (1996) studentica je Akademije za dizajn u Eindhovenu (NL) gdje je upisana na Masters program Socijalnog Dizajna. U svom dizajnerskom radu često radi s performansom i tijelom kao mjestom društvenih promjena i kritike. Ines trenutno radi na svom diplomskom radu u kojem istražuje temu patrijarhata u Hrvatskoj te performativnosti patrijarhalnih vrijednosti unutar hrvatskog tradicionalnog plesa. Preddiplomski studij završila je na Studiju dizajna u Zagrebu, smjer Produkt dizajn.

Misplaced Women? International Community Gathering

In Belgrade, News on April 28, 2021 at 10:25 am

This is an Announcement and the Open Call for the Members of the Misplaced Women? International Community & Project Participants (2009-2021)

Dear Misplaced Women? International Community, 

Please let us know if you would like to come over to Belgrade from October 14-18, 2021 to the Misplaced Women? Community Gathering, and the related exhibitions and live events.  In case you think you could apply for funding (to cover your travel, accommodation and per diems) where you are based, please let us know, so we could provide for you an official invitation letter and related information.

We will also organise online events for the participants that are not able to attend in person. So please let us know if you are one of those and how would you like to participate. 

In case your performance-video or related text are not included in the Misplaced Women? Video channel and/or on the project blog, and if you would like them to be part of the Project Archive and future exhibitions please send your contributions soon. 

In case you would like to be part of the Misplaced Women? Mailing List please let us know.

Mia Bradić: Misplaced Women? intervention , “Misplaced Women?” Workshop by Tanja Ostojić, Split, April 2021. Photo: T. Ostojić

Misplaced Women? BELGRADE, October 14-18, 2021: 

–  Belgrade Cultural Centre, Podroom gallery “Misplaced Women?” exhibition: VIDEO ARCHIVE, from October 14 until November 18, 2021. 

–   NGVU Belgrade “Misplaced Women?” exhibition: PHOTO, PAPER and TEXTILE ARCHIVE, from October 15 until November 18, 2021. 

–  CZKD Belgrade “Misplaced Women?” Community gathering & the performance weekend including performances, interventions in the public spaces, series of talks, round tables: October 15-17, 2021 (this is a fantastic intimate theater space and a contemporary art venue where I would like you very much to participate)

Curated by: Katarina Kostandinović, Dejan Vasić and Tanja Ostojić

Please write  to: TanjaOstojicART (AT) gmail.com

Subject:  Misplaced Women? Community gathering Belgrade

Subject:  Misplaced Women? Archive

Subject:  Misplaced Women? Video Channel

Subject:  Misplaced Women? Mailing List

“Misplaced Women?” performance by Tanja Ostojić on the La Grand Escalier de la Gare du Saint Charles a Marseille, 2013. With the participation of: Jane Kay Park, Emma-Edvige Ungaro, Alix Denambride, Kim Mc Cafferty, Robyn Hambrook, Helen Averley, Patricia Verity and Tanja Ostojić, Préavis de Désordre Urbain, Marseille

Thank you very much and looking forward to our community gathering!

Tanja

Open Call for participants in the “Misplaced Women?” performance workshop in the public space with Tanja Ostojić in Split, April 6-8, 2021, with the public presentation, hosted by Culture Hub Croatia

In News, Split, Workshops on March 11, 2021 at 9:18 pm

This is the Open Call for participants in the Misplaced Women? 3-day-long performance art workshop in the public space with Tanja Ostojić, April 6-8, 2021, with a public presentation in the Amphitheater, Dom Mladih, Split, hosted by Culture Hub Croatia.

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, marginalization, 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. Workshop will be held in Serbo-Croatian language; in case it’s needed, we can integrate most of other languages, let us know in your application in case you have any special needs so that we provide translation for blind people, into sign language, etc.

The deadline for applications is Wednesday, March 24, 2021.

Timetable:

Workshop: Tuesday, April 6:  3:00 pm—4:30 pm,
Wednesday,  April 7: 11am-5pm and

Talk about the workshop results & public presentation: Thursday, April 8: 11–12:30pm

Open call in Croatian / Poziv za učešće na Hrvatskom

During the workshop and the presentation all hygienic measures against the spread of  Coronavirus will be respected. Participants will all have an opportunity to perform in the public spaces, and outcomes will be presented to the public on  the third day of the workshop at the Amphitheater, Dom Mladih, Ulica slobode 28, and included on the Misplaced Women? project blog.

This project, including the workshop and group and individual performances in the public spaces, have been chosen for realisation in the frame of the Voids2021 project, organized by Platform Culture Hub Croatiasupported by the Allianz Kulturstiftung, “Kultura nova” Foundation and the Ministry of Culture and Media of the Republic of Croatia.

Please read about the project and find out more about the workshop and application relevant details below:

“Misplaced Women?” performance by Tanja Ostojić on the La Grand Escalier de la Gare du Saint Charles a Marseille, 2013. With the participation of: Jane Kay Park, Emma-Edvige Ungaro, Alix Denambride, Kim Mc Cafferty, Robyn Hambrook, Helen Averley, Patricia Verity and Tanja Ostojić, Préavis de Désordre Urbain, Marseille

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 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, as well as gender queer, homeless… 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 Ostojić.

About the workshop leader: 

Tanja Ostojić (*1972) is a renowned Berlin and Belgrade 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 globe. 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 a 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, parks and beaches of Split. Public performances will be documented by a professional photographer.

The outcomes of the workshop will be presented to the public on the third day in the Amphitheater, Dom mladih. 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 and edited by Culture Hub Croatia, and published on the Misplaced Women? project website. 

Dates of the workshop: Tuesday, Wednesday and Thursday: April 6-8, 2021

The deadline for applications is Wednesday, March 24, 2021.

Who can apply: 

Artists, 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 Croatian. 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  info@culturehubcroatia.hr with the subject Misplaced Women? Split 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? Video Channel on Vimeo

Misplaced Women? project blog

Tanja Ostojić, books

Culture Hub Croatia

Voids2021 project 

Contact person: Jasmina Šarić, Tel. +385 98 9363264

info@culturehubcroatia.hr

_____________________________________Poziv za učešće na Hrvatskom____________________________________

Otvoreni poziv za sudionice/ke na radionici performansa u javnom prostoru “Misplaced Women?” pod vodstvom Tanje Ostojić, u Splitu, od 6.-8. travnja 2021., uz prezentaciju u

Amfiteatru Doma mladih, u organizaciji Platforme Culture Hub Croatia

Ovo je otvoreni poziv za sudionice/ke na trodnevnoj umjetničkoj radionici performansa u javnom prostoru pod nazivom “Misplaced Women?” koju vodi Tanja Ostojić. Radionica će se održati od 6. do 8. travnja 2021., uz javnu prezentaciju u Amfiteatru Doma mladih, Ulica slobode 28, Split, Hrvatska, u organizaciji platforme Culture Hub Croatia.

Dobrodošle/i su sve/i sudionice/ci koje/i se mogu obvezati na sudjelovanje tijekom cijelog trajanja radionice, bez obzira na profil, dobnu skupinu, rod i razinu iskustva, ali posebno potičemo one koji su zainteresirani za pitanja migracija, izvedbenih umjetnosti, uvjeta povezanih sa svim osobama koji se identificiraju kao žene te predstavljanja roda i umjetnosti u javnoj sferi. Sudionice/ci su pozvane/i i ohrabrene/i da podijele i razmijene iskustva i probleme o temama kao što su migracije, raseljenja, izloženosti i privilegija te da pridonesu performansu “Misplaced Women?”. Radionica je besplatna, osigurat će se topli napitci i zakuska, kao i profesionalna foto dokumentacija rada sudionica/ka, a zbog ograničenog broja mjesta za sudjelovanje je potrebna prijava. Radionica će se održati na srpskohrvatskom jeziku; u slučaju da je potrebno, možemo uključiti i druge jezike. Molimo da napomenete u svojoj prijavi u slučaju da imate bilo kakvih posebnih potreba (primjerice, ukoliko je potrebno omogućiti prijevod gluhim i gluhoslijepim osobama na znakovni jezik itd.).

Rok za prijavu je srijeda, 24. ožujka, 2021. 

Raspored:

Radionica: utorak, 6. travnja:  15:00—16:30h i srijeda, 7. travnja: 11-17h, i

Razgovor o rezultatima radionice & javna prezentacija: četvrtak, 8. travnja: 11–12:30h

Tijekom radionice i prezentacije poštivat će se sve aktualne mjere za suzbijanje širenja koronavirusa. Sve/i sudionice/ci imat će priliku nastupiti u javnim prostorima, a ishodi će biti predstavljeni javnosti trećeg dana radionice u Amfiteatru Doma mladih te uključeni u blog projekta “Misplaced Women?.

Ovaj projekt, uključujući radionicu, grupne i pojedinačne izvedbe u javnim prostorima, odabran je za realizaciju u okviru programa Praznine2021 u organizaciji Platforme Culture Hub Croatia, a podržan je od strane Allianz Kulturstiftung, Zaklade “Kultura nova” i Ministarstva kulture i medija Republike Hrvatske.

Saznajte više o projektu te pronađite sve pojedinosti o radionici i prijavi u nastavku:

O projektu:  

“Misplaced Women?”je umjetnički projekt Tanje Ostojić koji se sastoji od performansa, serija performansa, radionica i delegiranih performansa, a koji traje od 2009. godine, uključujući doprinose međunarodnih umjetnica i ljudi različitih profila. Unutar ovog projekta utjelovljujemo i izvodimo neke od svakodnevnih životnih aktivnosti koje tematiziraju raseljavanje, kao temu koja je poznata osobama s privremenim boravištem, migrantima, izbjeglicama iz područja pogođenima ratovima i prirodnim katastrofama, kao i queer osobama, beskućnicima… i umjetnicima nomadima koji putuju svijetom kako bi zaradili za život. Performansi se bave kontinuiranim temama migracija i odnosima moći i ranjivosti s obzirom na pokretno, posebice žensko tijelo, aspekt koji je istaknut u brojnim prethodnim radovima Tanje Ostojić.

O voditeljici radionice:

Tanja Ostojić (* 1972) je priznata umjetnica performansa i interdisciplinarna umjetnica rođena u Jugoslaviji, bazirana u Berlinu i Beogradu, s angažiranim umjetničkim djelima u feminizmu i migracijskoj politici. Uključuje se kao lik u performansima i koristi se raznim medijima u svojim umjetničkim istraživanjima, istražujući tako društvene konfiguracije i odnose moći. Djeluje pretežno iz perspektive žene migrantice, unutar specifičnog društvenog konteksta. Pristupi njenom radu definirani su političkim pozicioniranjem i integracijom recipijenta. Od 1994. godine predstavlja svoj rad na brojnim izložbama, festivalima i mjestima širom svijeta. Držala je predavanja, razgovore, seminare i radionice na akademskim konferencijama i na umjetničkim sveučilištima širom Europe i u Americi.

O radionici

Projekt “Misplaced Women?” uključuje raspakiranje kofera, plastične vrećice, torbice ili sličnog predmeta u javnoj sferi, pri čemu ovi predmeti predstavljaju raseljavanje, kao temu koja je česta u svakodnevnim iskustvima osoba s privremenim boravištem, migranata, beskućnika i izbjeglica iz područja pogođenih ratovima i katastrofama. Cilj radionice je upoznati sudionice/ke s temama i potaknuti raspravu i intervencije u raznim javnim prostorima.

Prvi dio radionice uključuje upoznavanje, informiranje i razgovor, pri čemu će sudionice/i međusobno razmjenjivati pojedinačna iskustva i definirati ciljeve projekta.

Tijekom drugog dijela, sudionice/i se potiču i podržavaju u izvođenju samostalnih i grupnih performansa i intervencija uživo na splitskim ulicama i u parkovima. Javne nastupe dokumentirat će profesionalni fotograf.

Ishodi radionice bit će diskutirani i predstavljeni javnosti trećeg dana u Amfiteatru Doma mladih (Ulica slobode 28). Sve/i sudionice/i radionice pozvane/i su da aktivno sudjeluju u ovoj prezentaciji i razgovoru koji će uslijediti.

Dokumentaciju, bilješke i razmišljanja s radionice prikupit će i urediti Culture Hub Croatia te objaviti na web stranici projekta “Misplaced Women?”.

Datumi radionice: utorak, srijeda i četvrtak (6. – 8. travnja 2021.) 

Rok za prijavu za sudjelovanje na radionici: srijeda, 24. ožujka 2021. 

Tko se može prijaviti:

Dobrodošli su umjetnice/i, studenti/ce i sudionici/e bez obzira na profil i rod, a koji/e se mogu obvezati sudjelovati tijekom cijelog trajanja radionice. Nisu potrebne posebne jezične vještine. Pozdravljamo prijave osoba s invaliditetom, kao i onih koji ne govore engleski ili hrvatski jezik. Navedite sve posebne zahtjeve u svojoj prijavi.

Sudjelovanje na radionici je besplatno, ali zbog ograničenog broja molimo zainteresirane da se prijave. Molimo pošaljite e-mail na info@culturehubcroatia.hr, naslovljen “Misplaced Women? Split”. Prijava treba sadržavati kratki motivacijski i biografski odlomak. Pozivamo vas da dodate poveznicu na svoju osobnu internetsku stranicu ukoliko je imate, kao i svoje kontakt podatke.

Dodatne poveznice:

Misplaced Women? Video Channel na Vimeu

Projekt Misplaced Women?

Tanja Ostojić, publikacije

Culture Hub Croatia

Kontakt osoba: Jasmina Šarić, +385 98 9363264

info@culturehubcroatia.hr

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

Misplaced Women? A Translation of a Travel Diary in British Sign Language

In Berlin, Performances, Railway-stations, Train Station, Train stations on July 15, 2019 at 11:04 am

Contribution by: Susan Merrick 

“Misplaced Women?, A Translation of a Travel Diary in British Sign Language”, 30 minute performance by Susan Merrick

23.05.2019 Berlin-Gesundbrunnen Train Station (Berlin, Germany)

Tanja invited me to consider presenting a performance for the Misplaced Women? project whilst I was working with her for a few days in Berlin. I’d asked Tanja if I could work with her on my own project ‘Practicing to Share’ and it seemed appropriate to actually work within each others projects during this time, to understand one another and to consider each others theme of work.

“Misplaced Women?, A Translation of a Travel Diary in British Sign Language”, a 30 minute performance by Susan Merrick, 2019. 
Video recording: Tanja Ostojić. Video editing: Susan Merrick

I spent some time thinking about what would feel appropriate, and where. How it would fit to my own idea of misplaced, my feeling of ‘place’ while in Berlin, a city I’d only visited once before as a young woman. Also my feelings of my ‘[mis]placement’ within my work as a Sign Language Interpreter, working between two cultures, between two languages, being at times ‘invisible’, yet very visible.

Rather than cultivating a performance in any way Tanja simply gave me the performance score to look over and using the rucksack I already had with me, we chose to explore Berlin train station, Gesundbrunnen that was near to where we were working. 

Susan Merrick: “Misplaced Women?”, Berlin-Gesundbrunnen Train Station, 2019. Photo: Tanja Ostojić

I chose a position at the end of a platform. It felt quiet, intimate, and sat at a junction of two tracks. I have an affinity with train stations and much of my work has taken place in or around them. I have worked within busier positions but for this day I wanted some space and to see the location of Berlin behind me.

I began by removing my shoes and jumper. I wanted to be comfortable and to sit while I disclosed my belongings. I slowly removed each item from my bag, surprising myself by how much was in the bag that I had only emptied earlier that day (or so I thought!). Items of everyday use, but also items of specificity to the trip I was on, a camera, some shaving foam and razor – ready for some other work we were to do later – and a travel journal that I had written 17 years previously whilst on my only other visit to Berlin. 

Susan Merrick: “Misplaced Women?, A Translation of a Travel Diary in British Sign Language”, Berlin-Gesundbrunnen Train Station, 2019. Photo: Tanja Ostojić

Often I allow my surroundings to influence my actions in my work, responding to the stimuli around me. I allowed these items to do the same to me, not planning but following what the items suggested to me. I was really interested in my position between the train tracks so I decided to perform the creation of a track, placing shaving foam on my leg in a line and shaving the hair from my leg in a strip, straight like a track. I wiped it clean with a red head scarf.

I then opened up my travel journal from 2002. I read and translated into British Sign Language (BSL), some of the pages that spoke of my previous visit to Berlin. The journey into the city on the train and a visit to the zoo where we couldn’t afford the photographs that were taken of us. The language miscommunications and the laughter of the train guard who found our worries over a door not closing hilarious. Our lack of money and our exhaustion at travelling around. Our decision to sit and wait 7 hours in a hostel reception waiting for a room and our reliance on the kindness of others.

Susan Merrick: “Misplaced Women?, A Translation of a Travel Diary in British Sign Language”, Berlin-Gesundbrunnen Train Station, 2019. Photo: Tanja Ostojić

Using BSL in this way felt an appropriate challenge to the work, on a quiet platform, in a train station in Berlin, speaking only to the camera and to Tanja behind it, with no-one understanding me, using a language not native to the country, or even to me. A language that has become my profession, and that I have adopted now for over half my life, that works its way into my Art, and that I can never truly feel I belong.

Susan Merrick: “Misplaced Women?, A Translation of a Travel Diary in British Sign Language”, Berlin-Gesundbrunnen Train Station, 2019. Photo: Tanja Ostojić

Finally I took up my polaroid camera, taking a photograph of the semi circle of belongings surrounding my feet. Of Tanja watching me. Of the Train tracks reaching towards and away from me. 

Mis placed. Placed mistakenly. [Mis]placed

Lost. Unfound. In-between. Where am I?

As Artists where are we? Where do we belong? Who decides? Who finds us? Who loses us?

Susan Merrick is an Artist from the UK. She is also a Sign Language Interpreter and this profession greatly influences her performance practice.

Photos from performance on May 23, 2019 at Berlin-Gesundbrunnen Train Station were captured by Tanja Ostojić

Video recording: Tanja Ostojić.

Video editing: Susan Merrick

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Please visit as well other contributions and posts from Berlin, from different workshops and individual or group performances:

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 Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Older posts Berlin 2009: 

Contribution by Tanja Ostojić: Berlin, TXL Airport

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

Berlin Contribution by Татьяна Bogacheva

In Berlin, Performances, Workshops on January 30, 2019 at 4:08 pm

I am pleased to share Татьяна Bogacheva’s contribution to the January 2018, „Misplaced Women?“ Workshop in the Public Space in Berlin — hosted by Kunsthalle am Hamburger Platz, Berlin Weißensee — and her attempts to innerly process and express in performative ways her concerns, fears and experiences around the gendered perspective of homelessness.  (Tanja Ostojic)

 

“Home is a human right”:  (Home is the most dangerous place for women worldwide, domestic violence competing only with car accidents as the main cause of death of women; and, non-European perspective on the institutes of human rights reveals their essentially colonial nature.)

A Contribution by Татьяна, Tatiana Bogacheva

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Tatiana Bogacheva: “Home is a human right”, January 2018, „Misplaced Women?“ Workshop. Intervention Berlin, Alexanderplatz. Photo: Sajan Mani

Cosmopolitan is the preferred self-description of affluent dwellers of global cities reaping the fruits of the centuries of colonialism and its aftermath, globalisation, international division of labour, justice of transnational institutions and ‘illegal’ migration. Either an explorer or an expat, it is more likely to be a man who abandons one place for another or refuses to be associated with one nation, while women’s migration is a public secret. Study-mamas, oil-wives, domestic helpers, those involved in affective labour and care—neither their individual motivation for migration nor their role in shaping the world are given sufficient recognition—they are modernity’s roadies, not its driving force.

 

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Tatiana Bogacheva: “Home is a human right”, January 2018, „Misplaced Women?“ Workshop. Intervention at Berlin Alexanderplatz. Photo: Sajan Mani

When crossing borders alone for work, women are detained on the suspicion of being trafficked due to the persisting victim-centred approach of international human rights and humanitarian organisations which feed into moralistic and patronising narratives. What is primal, the hysteria about endemic sex trafficking or capitalism’s dependency on the surplus of unpaid domestic work? Constraining migration of women through the narratives of danger, human trafficking being its extreme, legitimises restrictions on the freedoms of women and effaces their political agency and grievances connected with their class, race, religion, ethnicity, sexual orientation.

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Tatiana Bogacheva: “Home is a human right”, January 2018, „Misplaced Women?“ Workshop. Intervention at Berlin, Alexanderplatz. Photo: Sajan Mani

Finally, women are barred from the ultimate dropping-out from the societal demands and refusal to do cartwheels to carve oneself a place in the globalised world. You don’t see many female rough sleepers on the streets of Berlin. They sleep in the airports and the sitting couches of overnight trains; on the spare beds in hospitals; at libraries and offices; and at the friends’ sofas and even at their own risk at home with their partners; but they don’t sleep on the street because they—our dutiful daughters, immaculate mothers, virtuous wives and selfless partners—are our only hope on this beautiful,

bright

cosmopolitan

creative

meaningful

modern

peaceful

fair

blue perlaceous planet Earth.

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Tanya Bogacheva worked in human rights, media and education before commencing her graduate studies in critical cultural studies in Berlin.

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Text written by Tanya Bogacheva

Photo of the public intervention: Sajan Mani

Edited and first published by Tanja Ostojić, 2018/2019 on the Misplaced Women? project blog

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Donate to Berliner Kaeltehilfe

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

Contribution by Rhea Ramjohn

Contribution by Hoang Tran Hieu Hanh

Contribution by LADY GABY

Contribution by Ola Kozioł

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

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Participants of the January 2018 „Misplaced Women?“ Berlin Workshop by Tanja Ostojic.      Photo: Sajan Mani

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…

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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.

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

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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?

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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

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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

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