MisplacedWomen?

Posts Tagged ‘Performance Workshop’

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

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Berlin Contribution by Ola Kozioł

In Berlin, Workshops on January 30, 2019 at 1:30 pm

Misplaced Women? Workshop Contribution by Ola Kozioł

„Golden Pillow”

Location: Karl-Marx Platz, Berlin

Duration: 45 minutes

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Ola Kozioł: „Golden pillow” January 2018, „Misplaced Women?“ Workshop, Berlin. Photo: Ruth Biene

 

In the frame of „Misplaced Women?“ workshop lead by Tanja Ostojić, hosted by Kunsthalle Berlin Weißensee, in January 2018, I came across the following thoughts and have realised the following performative intervention:

At the beginning of the workshops I was afraid that I wouldn’t be able to accomplish the performative task. I knew Berlin from the art-tourist perspective only, so to say: museums, exhibitions, etc. I had to find myself in a completely new context, new country, new city and about whose local problems I didn’t know anything, So just 3 days seemed to me as not much time to delve into any topic. Suddenly, I was shocked when I discovered during discussions with Tanja, that half of the people sleeping roughs in Berlin’s streets and parks are estimated to be Polish citizens. I decided to focus in my work on this problem. I was wandering why some of Polish people choose this „lifestyle“? Is Poland more desperate place for them to live in, and is a makeshift tent in the German capital currently the best option they have?

 

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Ola Kozioł: „Golden pillow” January 2018, „Misplaced Women?“ Workshop, Berlin. Photo: Ruth Biene

 

The thoughts were overwhelming. Do the Polish homeless people find life in the presumably rich west easier because of collecting bottles, begging and because of the amount of charities and places where they can get help?                                                                                                                                                                  

With all those questions and confusion I did my action during which I was sleeping on the bench on the Karl-Marx square and in the park nearby under a sleeping bag and on a golden-like pillow. Mostly people just past by me, but there were as well several reactions where people stopped with some of those questions in their mind, similar to mine.

 

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Ola Kozioł: „Golden pillow” January 2018, „Misplaced Women?“ Workshop, Berlin. Photo: Ruth Biene

 

Post Scriptum: Did you know that half of the people sleeping roughs in Berlin’s streets and parks are estimated to be Polish citizens…? There are no systemic solutions to the problem of homelessness in our country. We have a mild winter and the harvest of death is already great – more than 50 people died of hypothermia this year. There is no shortage of empty communal flats. There is a lack of heart, empathy, humanity. Homeless people are also people who once led a prosperous, successful life. They are people with higher education, some of them were entrepreneurs, in positions that failed at some point. Bankruptcy, flat auction, loss of salary, illness… It can meet each of us. The border is very thin.

Thank you Tanja Ostojic for your work and for sharing.

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Donate to Berliner Kaeltehilfe

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Text written by Ola Kozioł

Photo of the public intervention: Ruth Biene

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

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Ola Kozioł: „Golden pillow” January 2018, „Misplaced Women?“ Workshop, Berlin. Photo: Ruth Biene

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Ola Kozioł is multidisciplinary artist based in Łódź, Poland. She graduated in painting at the Strzemiński Academy of Art in Łódź, where she currently works. Her performances are mostly exploring the technique of the so-called “white voice” singing typical for Central, East and South-East European folk music culture. Musical projects: Mutant Goat (released Yonder album), 18 rivers, Miejskie Darcie Pierza, Strzemiński Choir. Since 2015 together with Suavas Lewy forms a group PRZEPRASZAM, since 2017 a member of a women’s artistists group FRAKCJA. Sings to everything, loves walking, treating “pilgrimage” as an artistic gesture, went “consciously” almost 2000 km. Conducts workshops for children and with voice for the women, is involved in the realisation of numerous artistic and social projects, with the aim of activating people around. Most of her works touch upon topics of women’s rights, respect for the surrounding nature, the world of animals and people, combine ecology with post-humanism, pacifism.

Ola Kozioł Blog

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

Contribution by Rhea Ramjohn

Contribution by Татьяна Bogacheva

Contribution by Hoang Tran Hieu Hanh

Contribution by LADY GABY

Public Presentation of the Misplaced Women? Workshop in Berlin, January 24, 2018

 

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

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

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

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

Please see  Cherry Truluck´video-performance

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

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Please see  Cherry Truluck´video-performance

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

Photo & video: Cherry Truluck

Sigrid Pawelke´s Statement

In Aix-en-Provence, Shopping Center, Stories, Workshops on September 25, 2016 at 3:32 pm

Sigrid Pawelke´s statement regarding her powerful performance contribution to the Misplaced Women? (performance workshop conducted by Tanja Ostojić) in front of the Sephora beauty shop, shopping district of the City of Aix-en-Provence, December 16, 2016.

The context:

In a city like Aix-en Provence, one of the most culturally and economically rich in France where its native sons Cezanne and Victor Hugo help to guarantee an extremely profitable tourism industry to this day, the city politics reinforce this anachronism of the 19th century as contemporary combined with the “culture of appearance”.

The expansion of the old city in the last several years provided even more space for the monoculture of appearance, with the opening of one multinational clothing shop after another – a paradise of consumerism.

In September 2016 at the height of the refugee crises in Europe, the right wing mayor declared that the city of Aix had already welcomed enough refugees and would not take any more.

But what refugees does this mayor mean? The ones who voted for her like the “pieds-noirs”, the French-Algerians, almost a million of whom came to the region after the French-Algerian war in the early 1960’s? Or the Italians, Spaniards, Corsicans and Polish who arrived throughout the 20th century, and let’s not forget the “Gypsies”,  the Roma people.

Due to this context I launched a symposium “migrations – strategies of creation” at the School of Visual Arts in Aix and invited Tanja Ostojić to come speak and hold a performance workshop.

In the frame of her “Misplaced Women?” performance workshop I chose to do my performance right in front of the Sephora beauty shop, which stands for the monoculture of stereotyped female consumers and the high pollutive nature of cosmetics waste worldwide.

This “interspace” between the shop and the public space out on the street is very interesting – where does the private-public space of the shop end and where does the public space of the pedestrian alley begin? French law provides three principles for the use of public space: “Liberté, égalité, gratuité” (Liberty, equality, freedom-as in ‘take this [item] for free’)

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There are laws governing these spaces and the interpretation of the laws by the person who is paid to watch and ensure safety, i.e. the modern day private security guard.

So I started to install myself right in this in-between space to challenge the security guard as well as the passersby and the customers of the beauty shop.

I arrived with a backpack filled with plastic bags and a few other belongings, wearing rather casual, well-worn street clothes.

The minute I started, I put on my “invisible” performance protection wall around me in order to pursue the task of “putting everything inside out”.

Then I began to empty all my bags: there were maybe five or six creating a scene of the so called “bag lady” and people were starting to wonder what I was doing or searching for, including the security guard who appeared hesitant to come over or ask himself whether or not what I was doing was legal, being so close to the shop? Maybe because I am a woman he held himself back so as not to interfere too much in my business in the beginning.

Next I pulled off everything I was holding inside my clothes, out of my jacket and pans pockets. In the end I took off my shoes. So I stood there in the middle of December without shoes or jacket. That was the point when the security guard came up to ask me:

“What are you doing?”

“I am just searching for something,” I answered.

“Hurry up because people are already watching. And move further away from the shop!”

The rest of the people, passersby and customers partially tried to ignore me, since that is the usual behaviour of people who do not want to get involved, neither mentally nor physically.

Under the staring eyes of the security guard I just kept slowly continuing my performance, showing no sign of inhibition due to the treatment of the security guard until everything was packed up again and then I walked away.

 

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The most striking part for me was the feeling of being an object of disturbance to someone, while at the same time being almost totally invisible to the rest, as if I didn’t exist.

However, I am a white European so visually I did not stick out of the crowd and my outfit was still “bearable” in regards to standard conventions.

So there I was, feeling what I call a double burden as a female of otherness, but yet being legal as a European in France. It was only due to my appearance that I was safe as I have been so many other times in my life at border crossings or immigration desks. Whereas both sides of my family were refugees after fleeing the Soviet army when Stalin reshaped Europe at the end of World War II. Thanks to the women in my family many of my kin survived and resettled. Women are the first victims in those situations, but on the other hand once they manage to survive they have an incredible endurance and capacity to adapt.

But to come back to 2016 in order to understand a glimpse of the female migration situation you must experience at least for a moment physically and psychologically their condition. That’s where the profound strength lies in Tanja Ostojić’s performance proposals.

And now just imagine being illegal with signs of apparent “otherness” as a female in front of a private security guard in the same context….

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Sigrid Pawelke, is professor of art history at the School of Visual Arts at Aix-en-Provence, France, researcher and performer.

Photos: Tanja Ostojić

FNAC, Aix-en-Provence, France, December 16, 2015

In Aix-en-Provence, Performances, Shopping Center, Stories, Workshops on February 23, 2016 at 9:33 pm

“Misplaced Man?” Performed by Anastasio  William at FNAC, in the shopping district of  Aix-en-Provence, France on December 16, 2015, in the frame of “Missplaced Women?” workshop conducted by Tanja Ostojic, on performance art, migration, public space and surveillance, with participation of students and teachers of the École Supérieure des Beaux-Arts, Aix-en-Provence, France.

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Anastasio  William (student, École Supérieure des Beaux-Arts d´Aix):

“The performance experience I had, in the frame of Tanja Ostojic´s workshop at the art school and in public spaces of Aix-en-Provence, was very exciting and fulfilling. However, it’s more complicated than it seems, to unpack all of your stuff in front of a crowd of unknown people…

It reminded me of the interactions I already had before with airport security agents. Waiting for their judgment…, telling you what’s good or bad…, staring at you with cold serious eyes… Anxious, you don’t know what will happen to you next, until they give you the order to “move along”, “wait on the side”, “come with them”, etc. I have encountered many of those kind of situations in my life due to my dual citizenship, and trust me, I regret I was joking around with border control sometimes.., they are so serious sometimes that one wonders if they are even human…

I decided to perform “Misplaced Man?” at the FNAC in shopping aria in the city center of Aix-en-Provence. It is a private chain shop for culture&technology, and I decided for it because I remember they have security agents, and that was actually good, as I wanted to confront myself to the authority. But it’s also a place, frequented by many people, from different backgrounds, and I thought that my performance in the public space would have no meaning if I wasn’t confronting the criticism of the mass.

I was the first from our workshop group to perform that day. Stress and adrenaline came to me gradually. At some point I just turned off the switch of reason. That same reason, telling one to behave normally, that people will judge YOU, they will think that your are weird..; that you might get in trouble even though you are not hurting anyone, that same reason, that prevents one from doing anything that goes against the norms.

So, after I stopped overthinking, I rushed on instinct and adrenaline alone, to the place I had chosen. In front of the escalators at the entrance of the shop, I dropped my bag down and started to unpack with all my might, as if everything surrounding me stopped to exist. I´ve put all my fury, passion in that act of unpacking, until a security agent came towards me and sort of brought me back to reality.

”What are you doing?!” he asked. Under the adrenaline rush, one thinks quickly, trying to come up with an answer that will satisfy the authority figure in front of you. I had kept my sun glasses on, like a mask separating me from my normal self and responsibility. I looked towards him, and after a bit of hesitation, I replied:

-“Eeeh, I’m looking for my credit card I think I´ve lost it”.

He than seemed relieved, to have a logical explanation to the absurdity happening in front of him.

-“You can’t stay here sir” he says.

-“I’ll be done soon”.- was my answer.

He calls for assistance on his walkie talkie to help him deal with the problem that I incarnated.

The second security guy comes quickly and he pressures me to get on the side or to leave. Feeling the tension growing and having nothing more to unpack or take out of my pockets, I can’t temporaries any longer. So I throw everything in my bag very quickly and exit the scene, thinking it was the right time to end it, before there could be any complications.

After leaving, in company of the group, with my performance workshop crowed that has been taking pictures of me, FNAC security guys probably realised that they were tricked by my lame excuse.

It took me a while before the super high adrenaline dropped down and got balanced again. Only then I got my normal senses back.”

Photos: Tanja Ostojić
Video: Anaïs Clercx

Nela Antonović´s Story / Priča Nele Antonović

In Belgrade, Stories, Workshops on November 10, 2015 at 12:16 pm

Priča Nele Antonović / Nela Antonović´s Story (English version is still in preparation) 

Uobičajeno refleksije i evaluaciju redionica napišem odmah, ali sam ovog puta čekala sedam dana zbog kompleksnosti projekta “Missplaced Women?” Tanje Ostojić, u kojem sam uzela učešće. Bez obzira što imam veliko iskustvo u radu sa učesnicima radionica preko 30 godina metodom Mimart, kao i raznih specifičnih metoda neformalnog obrazovanja mladih i građana koje vodim, kao učesnica radionice ovoga puta bila sam uzbuđena jer dugo pratim Tanjin umetnički aktivizam i pratim njen rad, a sa druge strane od aprila aktivno pratim prolazak migranata kroz Srbiju.

Zanimljivo je što su se na radionicu prijavile učesnice različitih godina, iskustava i zanimanja, što je bila velika vrednost. Često vodim radionice motivacije, tako da mi je bilo važno da na početku dana čujem i njihova mišljenja, zašto su došle. Spontani i inspirativan uvodni razgovor i priprema za performans „Missplaced Women?“ u prostorijama REMONTa u opuštenoj i demokratskoj atmosferi nametnuo mi je pitanja: Razumemo li mi dovoljno pojmove tolerancije, slobode, empatije, poimanja timskog rada i pojam različitosti? Negujemo li dovoljno vrednosti performansa, kao važnog izraza savremene umetnosti? Razumemo li dovoljno da performans preispituje društvo i ukazuje državi o važnim problemima društva? Performans je sredstvo društvenih promena i kao takav donosi veliki doprinos zajednici. Uvodni razgovor bio je važan za slobodu govora i mišljenja, jer nas je autorka prepustila svojim razmišljanjima i otvorila kao u psihodrami mudrim prepuštanjem nama da komentarišemo očekivanja. Zanimljiv je bio momenat približavanja haosu u demokratskom tumačenju pozivnog pisma koje smo dobile za radionicu, šta treba da donesemo, odnosno šta nedostaje migrantima. Različita pitanja nas učesnica na početku vezana za pozivno pismo, bila su odraz našeg nepoverenja u informacije, naših strahova o nametanju mišljenja, do trenutka kada smo svi zajedno krenuli u Miksalište..

Kada smo pošle u Miksalište, ne znam po koji put sam potvrdila svoju teoriju da se jedino telom može ući u fenomen, jer možemo da mislimo i da se reči umnožavaju a da se ne pokrenemo u akciju. Iako od jula meseca idem u Miksalište veoma često, donosim svoje stvari i stvari svojih prijatelja, higijenske artikle, čajeve i druge jednostavne svakodnevne potrebštine, ovoga puta kada smo otišle zajedno videla sam kese na kojima piše BORDER. To mi je mnogo značilo jer smo videle da se briga o migrantima zapravo vidi od trenutka kako uđu u zemlju, pa dok ne odu dalje… Ne želim da glorifikujem Srbiju u ljudskom odnosu prema migrantima, ali primetila sam da to oni osećaju i da jedino kod nas stoje u redu kada su u pitanju registracija izbeglica, podela hrane, podela tople odeće i obuće, čaja… Toga dana srela sam poznate volontere i ljude dobre volje iz Beograda, zatim Nedeljka iz Srebrenice koji je takođe bio izbeglica i mnoge mlade iz srednjih škola, ali i nove volontere strance koji su se potom uputili sa izbeglicama kasno popodne dalje do Hrvatske granice. Uglavnom smo naišli na migrante iz Avganistana koji su stigli preko Bugarske, i ovo su bila potpuno nova i drugačija iskustva za mene jer sam do sada upoznavala uglavnom ljude koji su došli iz Sirije, Libije i Pakistana. Naravno nemoguće je otpratiti svakog pojedinačno, niti saznati kako su se snašli, koliko i kako su dalje putovali, svejedno moram priznati da je svaka kiša izazivala kod mene nesanicu.

Iskustvo samog izvođenja performansa u parku kod autobuske stanice, koji smo počeli da zovemo Info park, i u parku kod Ekonomskog fakulteta za mene je imalo posebno značenje. Letos sam u parkove spontano dolazila, donosila voće i bonbone, držala radionice deci, pričala sa ljudima.. Stotine priča. Stotine sudbina. Mnoge sam upoznala, sa nekima se još uvek dopisujem, neke sam dovodila da se okupaju i odmore kod mene kući. Ponekom sam kupila kartu, kupovala sladolede, delila kišobrane… Sve to mi je prolazilo kroz misli dok sam vadila stvari iz tašne. Svaka stvar je izneta, i razmišljala sam o tome koliko žena je svoje tašne i torbe, sitnice potrebne i nepotrebne, negde ostavilo usput.

Setila sam se kada su migranti krenuli kroz Srbiju da je na drvetu pored koga smo stajale za vreme performansa stajao plakat/crtež koji je davao uputstva migrantima gde da putuju i kojim prevozom mogu da stignu na željena odredišta. Setila sam se događaja od pre deset godina koji mi se desio u Parizu. Dalija Aćin i ja, bile smo na jugu Francuske u Belfortu. Ona je imala povratnu avionsku kartu za Beograd jedan dan pre mene, i tada sam osetila važnost informacija koje dobiješ od prethodnih putnika. Od nje sam dobila SOS uputstvo, jer je rekla da ako u sekundi ne budem na pravom mestu neću stići do aerodroma. Ovo upozorenje i uputstvo mi je bilo dragoceno jer sam menjala 4 prevoza, išla sam bez novca i imala samo unapred kupljene karte. Ovo je ustvari priča migranata koji su ostali bez telefona, kojima sam pozajmljivala svoj telefon da samo vide gde im je rodbina, prijatelji i čitali su uputstva koja su deljena na društvenim mrežama. Nazer, mladić koji je prišao Tanji bio je srećan što opet ima neke stvari u torbi, što je jeo, ali je spomenuo da mu treba telefon. To je glavna potreba migranata, mreža informacija koja im je važna da bi znali gde mogu i kako da prođu.

Ovoga puta u parkovima je bilo malo migranata zbog promena ruta i zbog boravka u azilantskom centru u Krnjači zbog hladnoće. Toga dana oko 16h su došli u Miksalište, pojeli nešto i u 17h otišli dalje autobusima…

Razgovor koji je Tanja Ostojić vodila sa učesnicama radionice nakon performansa kroz pripremu javne prezentacije, bio je važan jer sve dileme su odjednom bile prihvatljive, sve nedoumice razumne, nakon iskustva izvođenja performansa. Iskustvo koje smo ponele je važno, a za mene je ovo bila značajna radionica do-edukacije.

— Nela Antonović, umetnički direktor / art director, Teatar Mimart

Authors of the Photos from the “Missplaced Women?” performance workshop by Tanja Ostojić that took place on October 29, 2015 in Remont, Miksalište, Info Park and in Park in front of the Faculty of Economy, Belgrade are: Lidija Antonović, Jelena Dinić, Miroslav Karić, Srdjan Veljović

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