We are pleased to announce the online exhibition of the “MIS(S)PLACED WOMEN?” project @Gandy gallery, Bratislava, with photos of performances by Dagmara Bilon and Tanja Ostojić
Please save a date and let us know if you can join us in September in Istanbul for the:
Mis(s)placed Women? Exhibition at DEPO: September 15 — October 30, 2022
Mis(s)placed Women? Live Events: September 20–22, 2022
Mis(s)placed Women? International Community Gathering: September 15 —22, 2022.
Mis(s)placed Women? workshop, Istanbul, a collective performance in a tea house, Mis Street (2021), with the participation of: Persefoni Myrtsou, Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Mis(s)placed Women? is a collaborative art project that I started in 2009, consisting of performances, workshops and an online platform, including contributions by over 170 individuals from six continents—individuals who largely identify as women from diverse backgrounds. Within this project we embody and enact some of everyday-life’s activities that thematise displacement, dealing with migration issues, gender democracy, feminism, gentrification, inclusion, power relations, and vulnerability, particularly concerning female and transgender bodies—aspects that figured prominently in the past almost three decades of my art practice. On one hand, 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 hand, we are exploring diverse public spaces and the invisibility of certain groups within them, using feminist emancipatory methodologies of artistic and community-building practices.
Mis(s)placed Women? workshops use principles of Art as Social Practice that both explore a variety of public spaces and the possibilities for temporary interventions in them, and empower participants in a creative laboratory that develops and produces new collective and individual works. The processes that unfold within the workshops are precious, as are the moments of communication with the passers-by that we meet on the streets and the audience members in the venues where exhibitions and discussions take place.
This upcoming Mis(s)placed Women? Exhibition on 410 sqm in DEPO, one of the most relevant political cultural venues in the region, is an opportunity to reflect upon this long-term project together with artists and diverse social groups, particularly the feminist and queer scene in Istanbul, and to get more visibility for the project thanks to the Istanbul Biennale as its accompanying event.
From the rich project Archive, some of the most relevant contributions touching upon topics of accessibility, feminism, queerness, and displacement will be selected and displayed in a two floor multimedia installation consisting of photos, videos, and drawings of performances, along with signs, textile works, artefacts, performance scores, stories, and maps collected globally in the 13 years of the project’s development.
During the performance weekend, with guided tours and roundtables, some of the most active, local and international members of the Mis(s)placed Women? community will have the opportunity to meet, exchange ideas, and perform together. Therefor we are inviting everyone with whom we collaborated successfully in the past to attend, as this is a great opportunity for us to get in touch with each other and the vibrant art scene in Istanbul.
(Tanja Ostojić)
“Score #2: Holding the ‘Mis(s)placed Women?’ Sign”, performed by Sabbi Senior, Vanessa Ponte, Persefoni Myrtsou, and Gülhatun Yıldırım at Kadıköy Port, Mis(s)placed Women? workshop, Istanbul, (2021). Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Mis(s)placed Women? Exhibition at DEPO, Istanbul, September 15 — October 30, 2022
Curated by: Arzu Yayıntaş and Tanja Ostojić
With the participation of: Teresa Albor, Gaby Bila-Günther aka LADY GABY, Dagmara Bilon, Mia Bradić, David Caines, Nati Canto, Hiuwai Chan, Azad Colemêrg, Luciana Damiani, Nazlı Durak, Kathryn Fischer aka Mad Kate, Li Fu, Hieu Hanh Hoang Tran, Selma Hekim, Monika Janulevičiūtė, Susan Merrick, Branko Milisković, Persefoni Myrtsou, Marta Nitecka Barche, Tanja Ostojić, Vanessa Ponte, Rhea Ramjohn, Alejandra Robles Sosa, Bahar Seki, Sabbi Senior, Evdoxia Stafylaraki, Tan Tan, Tanya Ury, Katja Vaghi, Hyla Willis, Arzu Yayıntaş, Gülhatun Yıldırım and Gizem Yılmaz, among others.
Live Events at DEPO and across the city of Istanbul: September 20–22, 2022
With the participation of: Gaby Bila-Günther aka LADY GABY, Dagmara Bilon, Nazlı Durak, Kathryn Fischer aka Mad Kate, Hieu Hanh Hoang Tran, Selma Hekim, Persefoni Myrtsou, Tanja Ostojić, Vanessa Ponte, Arzu Yayıntaş, Gülhatun Yıldırım and Gizem Yılmaz, among others.
Please let us know if you would like to come to Istanbul from September 15-22, 2022 to the Mis(s)placed Women?Exhibition at DEPO, International Community Gathering, and the live events. In case you think you could apply for funding (to cover your travel, accommodation, and further costs) where you are based, please let us know, so we can provide for you an official invitation letter and related information. Let us know if you are coming and how you envision your participation.
In case your performance-video or related text are not yet 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 at your earliest convenience.
If you would like to be part of the Mis(s)placed Women? Mailing List, please let us know.
Please write to: TanjaOstojicArt (AT) gmail.com
Subject: Mis(s)placed Women? Community gathering Istanbul, or Mis(s)placed Women? Archive/Video Channel/Mailing List
Realisation in collaboration with wonderful local and international team working on the project’s implementation, including: Marina Papazyan, project coordinator at DEPO, Aya Labanieh, editorial assistant of the exhibition reader and english editor, Performistanbul and many others.
With the support of: MIS(S)PLACED WOMEN? COMMUNITY, Anadolu Kultur, DEPO Istanbul, Alumni-Fonds of the Cultural Academy Tarabya, IFA, Stiftung Kunstfonds, and NEUSTART KULTUR.
A Review of the Tanja Ostojić’s Performance Art Workshop in the Public Spaces
By Performistanbul
Do you know the powerful and satisfying feeling you have after protesting in a public space and collectively claiming your rights out & loud? This is how Tanja Ostojić’s workshop made us all feel. We were re-discovering the strength of gathering and expressing oneself (both bodily and orally) as well as the power of public spaces through performance art; a fluid, non conformist, unique practice.
As a performance art platform we are constantly and passionately working on liveness, but this project felt like life itself.
From the beginning till the end, it has been a great challenge for the participants but also for the coordination and documentation team. How to coordinate a group of women and queers moving, acting/performing freely in the streets of the city in a country/culture where social gatherings and public protests are banned/prohibited? How to document a series of public performances as they are created and developed organically at the moment it is happening?
The Open Call
The journey started with an open call. Participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop were invited to apply. After we received around 40 applications, along with Performistanbul’s team (Simge Burhanoğlu, Azra İşmen, Ayda Bayram), Tanja Ostojić meticulously analysed each application. The selection was the key-point. The process during which we discovered each applicant’s personal stories was very emotional and at moments moving to tiers.
Nine powerful women and queer persons (Nazlı Durak, Gizem Yılmaz, Selma Hekim, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Bahar Seki, Arzu Yayıntaş, Gülhatun Yıldırım — unknown to each other), who were experiencing/dealing with issues of migration, marginalisation, displacement, empowerment, feminism and queerness were selected regardless of their experience in the field or in any other field of art.
The First Part
Tuesday, September 7, 2021 – Performistanbul Building – Galata
The first part of the workshop included getting together, informing and communicating, whereby the participants were invited to exchange with each other about individual experiences and the aims of the project. As the public performances as well as the whole workshop process had to be documented by a professional photograph and video team (Burçin Aktan, Gülbin Eriş, Kayhan Kaygusuz, Gün Üçok), the recordings started from the first meeting moment.
At the beginning of the first day of the workshop, the artist and the participants gathered in Performistanbul’s building’s garden situated in Galata, one of the oldest neighbourhoods of Istanbul. This first meeting was a start to get to know each other by discovering the unique paths of each participant. Ostojić started by creating a human circle before getting to the exercises. During the session, they raised their voices, moved their bodies, discussed the endless definitions of performance art/performing, their backgrounds and the reason why they applied to be a part of this experience and the relation they had with the public space. Before getting to the creative and artistic part, Ostojić was already setting up the tone of the workshop as the whole experience was about freeing the mind — freeing the voice — freeing the body while developing trust, promoting sensibility, supporting, sharing and caring of the other “without leaving anyone behind” (with Ostojić’s own words) .
Ostojić’s unique style favoured the building of trust relations with the participants and created a unity. Her human based practice is transferred naturally through her guidance, confidence, sense of freedom and undeniably strong presence. Providing/building a secure space for all the participants, as soon as they started to feel safe and confident, it was finally time to take to the streets of Istanbul and start the second part of the workshop. Participants selected three itineraries/neighbourhoods for each day of the workshop; Beyoğlu, Nişantaşı, Kadıköy.
From the first day, Ostojić formed the love circle and brought the whole group together. Every person became each other’s sibling, a supporter and a carer to each other starting from day one. A strong group hug was made before leaving the building. The hug made us feel united like we were preparing for the battle we were about to have on the streets.
Protest Scarves Against Turkey’s Retreat from the Istanbul Convention, 2021. İstiklal Street, Istanbul, 07 09 2021. a collective performance action realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
The Second Part
Tuesday, September 7, 2021 – Beyoğlu
During the second part, the participants were encouraged and supported to enact live performances and interventions in the streets, parks and stations of Istanbul.
Thus, the second part of the workshop started on the second half of the first day. On a sunny late summer afternoon, a group of women, accompanied by our team and the documentation crew started their walk to join the İstiklâl (Independence) Street. It was the September 7, marking the anniversary of the anti-Greek pogrom; a series of state-sponsored mob attacks directed primarily at Istanbul’s Greek minority on 6–7 September 1955. Dealing with issues such as displacement, misplacement and migration, the historical event affected the spirit of the first collective performance. While going up through the street of Bostan, where the old German High School is located, all the participants started walking backwards inspired by and referring to Gülhatun Yıldırım’s (one of the participants) performance Just Like the Past (Istiklal Street, public/video performance, 2015). Sharing one action as a group has always a uniting and strengthening effect on both its members and spectators. This is how performances followed one after another till the end of the workshop.
As the group reached Istiklâl Street, a symbolic space for social movements, female and queer bodies walking backwards turned into making up a statement, it became a protest action given that it is forbidden to gather and demonstrate in Istiklâl Street since Gezi Protests (2013).
Protest Scarves Against Turkey’s Retreat from the Istanbul Convention, 2021, İstiklal Street, Istanbul, 07 09 2021. a collective performance action realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Arzu Yayıntaş, one of the participants, grabbed a scarf and started waving it with the wind. Other participants followed her by using their own scarves or borrowed some of Persefoni Myrtsou’s grandmother’s unused dowry that she brought with her and shared with others during the whole workshop as performance props. Arriving in front of the banner displayed on the Istanbul Bar Association Building, on which we could read in Turkish: “The Istanbul Convention saves lives”, all the participants stopped and continued waving various beautiful colourful fabrics that became flags and expressed themselves on Turkey’s withdrawal from the İstanbul Convention. They have created a kind of huge “tableau vivant” that drew the attention of the public. Some of the crowd just stopped to contemplate the group and some of them started imitating their reverse walk. This is when we had to face the first police interruption and our first warning. After three distinct patrols checked all the papers and filming permits that we had, and then two other patrols interrupted the walk, we were informed that we could not walk and film through İstiklâl Street and that we could only continue our “activities and actions” in the backstreets. As Performistanbul team, our main role has been to be dealing constantly with authorities, so that the performance and documentation process were the least affected. It has been made quite clear that we had to re-think our relation to public spaces and the right we have to make use of it; What is a public space? What is/isn’t allowed in public spaces? Who/which groups are tolerated to gather in public spaces?… Those questions would only keep repeating in our minds till the end of the workshop process.
This is how the whole group decided to settle and occupy a space in a traditional street “tea house”, located in Mis Street, mostly populated by men. All the group started exploring Persefoni Myrtsou’s dowry and spreading it. Each participant selected a piece and started transforming it with embroidery while Myrtsou was preparing Turkish coffee for fortune telling. The performance established a safe bubble transforming the space into a place dedicated to womanhood as well as queer-hood. The female presence and aesthetics took over the place. Some of the passers by took a break and watched the amusing and meditative imagery created by the group asking questions about what was happening. It was the end of the first day.
“Mis(s)placed Women?” workshop, Istanbul, a collective performance in tee house, Mis Street (2021), with the participation of: Arzu Yayıntaş, Bahar Seki, Gülhatun Yıldırım, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Vanessa Ponte, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Wednesday, September 8, 2021-Nişantaşı
On the second day of the workshop, all the participants gathered in front of the Teşvikiye Mosque. The first meeting to plan the day was made in the Mosque’s garden. After a conversation about what happened the previous day, Ostojić and the participants started discussing the progression of the day, making different propositions and already setting a frame for the upcoming performances. “To be present for the other, listening and communicating. Unity, trust, empowerment, devotion, sincerity” were the main keywords that would lead the workshop.
Before reaching the square in Kadırgalar street [a posh street of Istanbul surrounded by luxury brands and cafes], the performance space for the day that the participants selected together, Arzu Yayıntaş made a proposition for the first collective performance of the day. Most of the participants were randomly complimenting and catcalling men that they came across during the walk. Selma Hekim contributed to the walk with the uncommon sound of her traditional erbane/daf, also known in Syrian, Arab, Kurdish, Armenian and Persian communities; women played this instrument as they believed it to be a cure for fear and diseases. Living in a patriarchal society, the confusing behaviour of the performers mostly produced positive reactions in the public, setting a smile on the faces of audiences. Even though women experience the catcalling act as a form of aggression, men seemed to be quite pleased with the attention they received and sometimes even shocked by this unexpected behaviour. The performance was repeated multiple times while the group was walking.
Since the first day, each participant brought some performance props with them. It was time to start exploring the props both individually and collectively. Once the group reached the performance space, various group and solo performances started to pop up. Bahar Seki grabbed her dry shampoo bottle and started performing by making continuous and repetitive movements with her whole body along with Selma Hekim’s playing erbane.
“Mis(s)placed Women?” workshop, Istanbul, a performance by Bahar Seki (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Nazlı Durak, Gizem Yılmaz, Vanessa Ponte, Arzu Yayıntaş, Selma Hekim and Persefoni Myrtsou started performing simultaneously. Some of the individual performances connected with each other creating a collective performance while some others differed with each other. Persefoni Myrtsou performed while being blindfolded one of the “Mis(s)placed Women?” project scores: “unpacking and repacking” a bag in the public space. The rest of the group started unpacking and interacting with their props and each other. Arzu Yayıntaş explored objects associated with womanhood by society. Combining many clothing objects and wearing them in an unusual way while moving her body in a displeasing eccentric way in opposition to what is expected from womanhood. Meanwhile, Vanessa Ponte and Gizem Yılmaz, were displaying beautifying actions such as putting on makeup and dressing up in the most absurd ways accentuated by repetitive movements. Next to this duo, Nazlı Durak was exploring Yayıntaş’ props. Dressing up herself with princess costumes for children, she tries to fit into society with a new unexpected identity. During the whole session Selma Hekim accompanied the group by playing erbane.
“Mis(s)placed Women?” workshop, Istanbul, a performance by Arzu Yayıntaş (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
After the lunch break, the next stop was the Teşvikiye Mosque. We had legitimate concerns about performing at a mosque courtyard in Turkey. Yet, Ostojić was sure of herself with each step of the process. If it comes to that, we could maybe get warned, or kicked out but she insisted on defending our right to use this public space. Tanja always encouraged us by moving forward with a fighting and protesting spirit, an inclusive dominant identity of a female, independent of geography and culture. Due to our concerns about us being from Istanbul and people’s traditional values, we were able to move forward with Tanja’s leadership and the safe space Ostojić provided for us.
“Mis(s)placed Women?” workshop, Istanbul, a performance by Gülhatun Yıldırım (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić
Gülhatun Yıldırım performed next to an empty fountain pool at the Mosque’s garden. Sitting by the fountain, Yıldırım placed dozens of ice cubes on her lap and stood still, enduring the burning pain of ice for approximately two hours, until the last ice cube melted and leaked into the empty pool. As a performance artist, water and its various forms is part of Yıldırım’s practice. She is in constant research of her body limits while searching new ways of interacting with water. The ephemerality and the transformative effect of the material referring to the issues of forced nomadism, migration and displaced communities, attracted the artist, so this is how this durational piece has been created.
After a while, the group left Yıldırım’s performance to continue their journey. But she was not on her own, one camera person and a member of the production team stayed with her until the end of the performance. Nobody was left alone during the whole workshop.
For the second part of the day, Ostojić invited participants to rethink about their performance and to reperform some of the performances as they needed to be deepened and to be worked on.
In the wake of individual and collective re-performances, Myrtsou continued working with her grandmother’s dowry, displaying all its content, sharing it with other participants. Then she started hanging the dowery pieces on one side of the square with the help of some of the participants. While Myrtsou finished unpacking, Nazlı Durak installed herself comfortably in her luggage creating a safe and cozy space. After building herself a spinose crown made of knitting needles and yarn with the help of Selma Hekim she started to give herself to a domestic female activity; knitting. Her work brought up questions in mind such as “Where is home? What is home? Can any place turn into a home? How does it feel to be forced to quit home?”.
Reconsidering the recent police attack to the queer picnic organised in Maçka Park — which was very close to the square — Gizem Yılmaz and Sabbi Senior wanted to revive a surreal queer picnic scenery. They went exploring the construction site next to the square in order to bring together some props for their “Queer Breakfast” piece. A gasoline bottle, cement, stones became snacks and treats. Enjoying cheerfully that nonsensical breakfast that slowly transformed into a queer playing house for adults. The message was simple; to draw attention to the innocence of their act.
Close to Myrtsou, Arzu Yayıntaş and a passerby that joined her began embroidery activities. Simultaneously, another embroidery performance session started with Tanja Ostojić and Bahar Seki on the opposite side of the square. Later on, Persefoni Myrtsou and Selma Hekim joined the duo.
Embroidery became like a uniting therapeutic closing ritual of the day.
Collective performance actions realised at the Teşvikiye Square, Istanbul, 08 09 2021. in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, with the participation of: Bahar Seki, Gizem Yılmaz, Nazlı Durak, Persefoni Myrtsou, Sabbi Senior, Selma Hekim and Tanja Ostojić. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
The whole square turned into an installation in which various performances popped up. Knitting, embroidering, beautifying, cooking, playing house — all the performances were related to traditional feminine activities mainly destined to be practiced indoors, however the act of displaying those activities outdoor in a public space and deviating from its essential aim became a feminist/queer statement itself.
During the performances at this location we only have been interrupted once by a policeman that politely asked us to leave as we found it at the ending time of the workshop. We had different types/groups of audience. Some of them were only passersby who stared at the scenery very briefly while some of them stayed and watched the performances. Many questions were raised and comments were shared as they were trying to relate the performances to the actuality trying to analyse it according to their background. And this is how the second day came to an end.
Thursday, September 9, 2021-Kadıköy
On the third day of the workshop that comprised public interventions, the whole group met in front of the Kadıköy Ferryboat Docks. The day started with the “Holding the Mis(s)placed Women? Sign” score. The first score was performed by Vanessa Ponte, they arrived at the meeting point already holding their sign and placed themselves next to the Kadıköy Ferryboat Docks with the historical Haydarpaşa Railway Station and the Bosphorus view in the background. They were holding a sign on which they wrote “Misplaced Human/Misplaced Woman”, standing still with her red hoodie, worn backwards, covering her face. It was a very strong image. Knowing that there is a human inside that body without being able to identify anything about it had a strong effect on the audience. Many passersby stopped by to watch. Sabbi Senior joined Ponte with her own sign on which we could read “MIS(S)PLACED WYMYN”. With a very feminine wear (a crop top and mini skirt), they stand still next to Ponte. Next to them, Persefoni Myrtsou and Gülhatun Yıldırım who have just prepared their own signs in Turkish joined the performance. Many asked why only “women”, they suggested that it should also include men.
Score #2: Holding the “Mis(s)placed Women?” Sign, performed by Sabbi Senior, Vanessa Ponte, Persefoni Myrtsou and Gülhatun Yıldırım, Kadıköy Port, “Mis(s)placed Women?” workshop, Istanbul, (2021). Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
15-20 minutes after Ponte started performing, a police patrol came to interrupt both the filming and the performance and took one of Performistanbul’s team members with them to start an interrogation about “what was happening”. A dozen police officers gathered in a prefabricated cabin and they started preparing a police statement informing the team member about the illegal nature of the activities that the participants have been doing in public space. We were not allowed to show and film people holding signs in public space, one policeman qualified the performance as a terrorist act. After a long negotiation, they let us go without a fine but we had to stop the performances and move immediately to another location. We have been literally chased away from the meeting spot and we were forbidden to resume the performances unless we get extra permission documents from the prefecture and the district police department of Kadıköy. While the participants and some of the coordination and documentation team continued their walk inside the small streets of Kadıköy, Performistanbul’s staff and the camera woman went to collect new permissions documents. It took almost two hours to gather all the documents —that were not necessary— and come back to the performance location. Meanwhile, after the group left, two undercover policemen started to follow the group. The two policemen stayed with the group until the end of the day, they also documented the performances and reported what was going on to the police station. Sometimes they gave warnings to the coordination team about what can/can’t be done in public spaces (without directly interrupting the workshop) and also asked many questions about the project, the performances as well as the discipline itself.
The group was led to the small streets of Kadıköy Bazaar. After walking for a while, they gathered in circle at the small square in front of Surp Takavor Armenian Church where numerous security cameras were installed and started performing some warming-up exercises. Soon, policemen warned the group that they have to move to another location. It was time for lunch, until the group got to the restaurant, they started performing with their voice. Words were forbidden but screaming was not. Therefore, the group of ten women and queers raised their voice together through the small streets of Kadıköy. The magical moment happened when senior people started hitting some objects with their canes to support the “protest” actions of the group.
After the lunch break, the group moved to Bahariye Street in front of the Süreyya Opera. Vanessa Ponte proposed a performance referring to the oppression of the queer community in Istanbul tackling the male gaze. Along with Sabbi, Nazlı and Gizem, Vanessa started to tie up their hands and legs. Then the music started and they started to dance depicting the struggles of a queer body in public space while freeing it and celebrating its existence.
A collective performance with the participation of: Nazlı Durak, Sabbi Senior, Gizem Yılmaz and Vanessa Ponte, 2021. Realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić. Süreyya Opera House, Istanbul, 09.09.2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić
Following this performance Ponte continued proposing; they also included Persefoni Myrtsou and Arzu Yayıntaş. Ponte’s body was tied up and pulled in different directions while they were trying to put make up on their queer face wearing a purple moustache. The absurdity and struggle caused by the action was expressing both the oppression and vulnerability of the queer body.
Selma Hekim took over the performance space. Her performance was about “leaving traces” dealing with issues such as immigration, the sense of belonging, the kinship between past and present, as well as the need to leave a legacy. She lied on the floor and asked Sabbi Senior, Arzu Yayıntaş, Vanessa Ponte and Persefoni Myrtsou to draw the outline of her body on the floor. Each time the group started drawing, Hekim continuously moved her body until the floor was covered by multicolour lines.
A performance by Selma Hekim with the participation of: Arzu Yayıntaş, Nazlı Durak, Persefoni Myrtsou, Sabbi Senior, Selma Hekim and Vanessa Ponte, realised in the framework of Mis(s)placed Women? workshop by Tanja Ostojić, Süreyya Opera House, Istanbul, 09 09 2021. Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
The group moved to Kadıköy Greek Orthodox Metropolitan Bishop, where Persefoni Myrtsou presented her solo performance. She started by unpacking her grandmother’s dowry that she carried in her suitcase during the entire workshop since the day one. It was not a simple luggage, with all the different sorts of dowry, it also contained memories of her grandmother and community as well as their migration story and past history. It was time to fully engage with them and confront what was embedded in them. Myrtsou started covering herself with each piece of dowry. With the help of Ostojić, passing by women and other participants, she covered her whole body creating a bridal gown made of dozens of dowry pieces. Then she started distributing the rest of the dowry to the passersby. The dowry would continue to live in different lives, being part of different stories. Somehow Myrtsou found a way to communicate and reconcile with her past through her grandmother’s untouched dowry and share it with others. We could hear her soft sobs through the multiple layers of textiles. At the same moment it started raining, it was like the sky was empathising with her trying to carry away her sadness. It was a visually and contently very strong piece that deeply touched each of us. At the end all the participants gave a huge hug to Myrtsou and helped her get out of this “heavy” dress.
“Mis(s)placed Women?” workshop, Istanbul, Doily Monster-Bride, a performance by Persefoni Myrtsou. (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
Just before the workshop ended, Gizem Yılmaz sat down on the street next to a sign on which she wrote “Poor Artist”. Covering her face with a veil, she randomly started playing an ukulele while singing a ridiculous song about the situation of the “poor woman artist”. Nazlı Durak joined the performance spontaneously, accompanying Gizem with her absurd dance. Looking like a mixture of beggars and/or extravagant boheme street artists, they tried to depict humorously the situation and struggles of the artists in our current society. It was the end of intense three days long performance interventions on the street.
“Mis(s)placed Women?” workshop, Istanbul, a performance by Gizem Yılmaz and Nazlı Durak (2021) Photo: Kayhan Kaygusuz. Copyright: Tanja Ostojić.
The Third Part
Saturday, September 24, 2021-Beykoz Kundura Cinema
Next time the entire group gathered was at Beykoz Kundura Cinema, to watch together the first edit of the documentary movie depicting the workshop, to discuss and present the outcomes to the public. All participants of the workshop were invited to take active part in the presentation and the following discussion led by Tanja Ostojić. Each participant discussed their experience analysing it thoroughly with comments of Ostojić and other participants.
The whole workshop was a (re)discovery of what is/isn’t/can be performance art. Through her inclusive and pedagogical practice, Tanja Ostojić gave to the nine distinct participants the opportunity to discover, create, explore and develop a performative practice. By providing a safe space (even though in the public spaces) and continuous support, Ostojić encouraged both self-expression, public presence, collective creation and community building. It was a huge experience full of emotions for all the participants as well as the documentation and coordination team.
We were on the edge the entire time on the streets. It felt like we were on a battlefield. A battle we were already having every day. A war, we have against the difficult conditions of being a woman/a queer in Turkey, and for the performance art practice we produce and try to protect. It was a very inspiring and empowering experience for us Performistanbul as well. Thanks to Ostojić, we were finally able to come out to the streets and make our voices heard as we always wanted and needed.
We were not direct participants… yet, to be with the participants at all times, to be the meeting bridge in order to make their voices heard made us part of the workshop and community as facilitators. Making public performances possible, supporting the participants and the artist during the process, to ensure the smooth running of Ostojić’s workshop was actually Performistanbul’s performance. Ostojić’s sharp, determined, confident nature became her guide. At the same time, her humble approach, loving embracing and openness to each idea created a space that encouraged free expression and communication. Such a unique and one of a kind experience was created that just like the particles colliding with each other in the creation of the universe, the participants grew and propagated by listening and reading each other, interacting, communicating…
Many of the interventions were not completely understood by the diverse audiences, but that did not matter, as it was not a show but a display of an expressive stance. Performance was not present as an academic discipline and it was not essential. As Performistanbul, since our establishment we approached performance art as a communication tool to bring people together, to vibrate and to heal collectively and it also has been Ostojić’s way to connect with the participants and the public. We prioritised our natural needs over the technical ones. This openness of heart and transparency led us to live art rather than producing it. We were present at that moment, fully feeling its liveliness.
We are grateful, thankful for all the participants and Tanja Ostojić for revealing and sharing their unique identities, memories, experiences, and sorrows with us. We would like to sincerely thank Ostojić for making us a part of this long adventurous journey that led us to a discovery of ourselves, of performing in public spaces and producing a collective/participative creation.
Now remembering our strength as women, we feel together, and we know that we have each other.
By staying a collective, staying whole, we continue transforming and keep transforming…
The Writing Part as a Post Scriptum:
At the end of the second part of the workshop (performances on the street) all participants, including the coordination team, have received Ostojiić’s instructions on how to write reviews and short texts including reflections about our experience of the workshop. First drafts of the texts were due before the screening and the round table at Beykoz Kundura so that participants could prepare for the public presentation. Those short texts and essays are in the process of editing by Tanja Ostojiić in order to be gradually published on the project blog.
This review has been written a half a year after the workshop took place and includes a chronological description and brief analysis of all performances and the workshop’s process as a whole, comprising reflections on Tanja Ostojiić’s practice and our own experience as a performance art platform that coordinated the project.
Besides digging in our memories, we went through the 90-minutes-long documentary video about the workshop process, the notes that we have gathered in September as well as all the reflections shared by the participants. The reflections were a crucial part of the workshop in which each participant shared and analysed their own experiences of both the performance(s) they realised as well as the one(s) they witnessed. In our review, we tried to include as much as possible their approach in respect of their intentions and analysis, to avoid misinterpretations and confusions which may sometimes compromise the main motives of creation. The participants’ perspectives and intentions can not be extricable from the analysis. Thus, we would like to acknowledge and thank all the participants who indirectly contributed to the creation of this review, especially Persefoni Myrtsou who wrote an extremely meticulous and detailed reflective essay on the whole workshop process.
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Review written by: Azra İşmen & Simge Burhanoğlu, Performistanbul
Edited and first published on the MIS(S)PLACE WOMEN? blogue by Tanja Ostojić on June 1, 2022. (Anniversary of the beginning of the Gezi-Park-Protests June 1, 2013.)
Gülbin Eriş – Camera, Video Editing, Gün Üçok – Camera Assistant, Burçin Aktan – Sound Operator and Kayhan Kaygusuz – Photographer
Performistanbul Team
Azra İşmen & Simge Burhanoğlu – Organisers and Ayda Bayram – Coordinator
Cultural Academy Tarabya
Çiğdem İkiışık – Program Coordinator
The Mis(s)placed Women? production in cooperation with Cultural Academy Tarabya and Performistanbul in the frame of Ostojić’s four-months-long residence in Cultural Academy Tarabya (June-September 2022).
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Save the dates:
June 18, 2022, Istanbul premier of the ‘Mis(s)placed Women? Istanbul’ 68 min documentary by Tanja Ostojić:Mis(s)placed Women? Performance Art Workshop by Tanja Ostojić(2021-22), at the Tarabya Summer Festival, Istanbul.
The video documents collective and individual performances, reflections and the process of the Mis(s)placed Women? workshop realised over four days in several neighbourhoods of Istanbul during September 2021. The workshop uses principles of Art as Social Practice that on one side explores a variety of public spaces and the possibilities for temporary interventions in them, and on the other, empowers participants via a Master-class-like block seminar, a laboratory outside of an educational institution. Istanbul itinerary of the project (ongoing since 2009) was marked by massive police presence, appreciative responses from the people on the street, and the participants who were amazingly supportive of each other, highly motivated to engage in the collaborative work and in agency to work with the issues of displacement, feminism, queer issues and the public space.
September 15, 2022, ‘Mis(s)placed Women?’ Project retrospective, exhibition opening at DEPO Istanbul
September 20-24, 2022, ‘Mis(s)placed Women?’ International community gathering in Istanbul and live events at DEPO and outside
Tanja Ostojić was a recipient of the Cultural Academy Tarabya, Istanbul, Fellowship in 2021 and is currently a recipient of the Stiftung Kunstfonds NEUSTART KULTUR Stipend for the contemporary visual arts in 2022.
“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.
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.
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
00.3. Tanja Ostojić: Misplaced Women? Sign, a photocopy on paper, 21 x 30 cm, 2019.
Videos:
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.
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.
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.
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.
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.
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 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
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 hâliyleMis(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.
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.
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, dasBewerbungsformular 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.
This is the Open Call for the participants in the Mis(s)placed Women? 4-days-long, free of charge, performance art workshop in the variety of public spaces in Istanbul, with Tanja Ostojić, September 7–9, 2021, organised by international performance art platform Performistanbul in collaboration with Tarabya Cultural Academy, followed by a public presentation in the Beykoz Kundura Cinema on Saturday, September 25. The workshop is taking place during Ostojić’s residency in Tarabya and is exploring Live Art practices and methodologies in relation to the individual experiences of displacement in the the broadersense. The deadline for applications is Tuesday, August 31, 2021.
Mis(s)placed 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 diverse backgrounds. Within this project we embody and enact some of everyday life’s activities that thematize displacement, as it is known to transients, migrants, war and disaster refugees, as well as gender queer, homeless, victims of family violence… and to the itinerant artists travelling the world to earn their living. Those performances continue 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.
Participants of all backgrounds, ages, genders and levels of experience that can commit to participate for the entire duration of the workshop are welcome. 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 experiences and issues of migration, marginalisation, displacement, exposure and privilege and to enact some of the Misplaced Women? Performance Scores… The workshop is free of charge, refreshments and a light meal will be provided, professional photo and video 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 English language; let us know in case you need translation or have any special needs so that we try to provide translation, for example, for visually impaired persons, or sign language for hearing impaired participants, etc…
During the workshop and the presentation all hygienic measures against the spread of Coronavirus will be respected. All participants will have an opportunity to perform in the public spaces, to write and exchange about it, and outcomes will be presented to the public in the form of a public talk along with visuals, and included on the Misplaced Women?project blog and the project’s archive.
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
Timetable:
Workshop: Tuesday, Wednesday and Thursday, September 7-9. From 11:00 am—5:00 pm (including breaks ) The first meeting and introduction session will take place in Performistanbul’s building situated in Galata, the rest of the workshop and performances will take place in different neighbourhoods of Istanbul.
Talk about the workshop results with the participants & the public will take place on Saturday, September 25, 5:30 pm in Beykoz Kundura Cinema.
The deadline for application is Tuesday, August 31, 2021.
Applicants will be notified by September 6 at the latest.
About the artist and workshop leader:
Please find out more about the workshop and the application relevant details below:
Tanja Ostojić (*1972) is a renowned Berlin based, Yugoslavian born performance and interdisciplinary artist who also works in the fields of research and education. She is internationally known as a pioneer of institutional gender critique and socially and politically engaged feminist art in the public space, especially related to migration and gender issues. Her artworks have a high level of theoretical reference and have been analysed and included in numerous books, journals and anthologies. The British Guardian recently named Ostojić one of the 25 best artists of the 21st century for her project “Looking for a Husband with EU Passport” (2000-05).
Ostojić studied at the University of Arts Belgrade and the École Regionale des Beaux-Arts Nantes, while in 2012-14 she was a fellow at the Graduate School for the Arts and Sciences at the Berlin University of the Arts. She has received various grants and awards; her performances and exhibition art works have taken her since 1994 to numerous important art venues and festivals worldwide. Her works are part of important Museum collections, she has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.
Ostojić is currently a fellow of the Tarabya Cultural Academy in Istanbul (June-September 2021).
The Mis(s)placed Women? project involves, for example, 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 and persons escaping home because of domestic violence. 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 stations of Istanbul. Public performances and the workshop process will be documented by a professional photograph and video team.
The outcomes of the workshop will be presented to the public, two weeks later in the Beykoz Kundura Cinema. All participants of the workshop are invited to take active part in this presentation and the following discussion.
The documentation, notes, written texts and reflections from the workshop will be gathered by Performistanbul, and later edited, translated and published on the Mis(s)placed Women? project website, Misplaced Women? Video Channel and will be included in the Misplaced Women? Project Archive that is regularly exhibited and in such way accessible to the public.
How to apply:
Participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop are welcome. We welcome people with any kind of special needs. 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 before the end of August. Applicants are kindly asked to complete the application form or to send an email to misplacedwomen@performistanbul.org with 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.
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
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!
Misplaced Women?, delegirani performans Tanje Ostojić
Score #1/Raspakivanje lične torbe/ Performans Solidarnosti: kontribucija Roberte Weissman Nagy uz Partituru za izvođenje performansa br.1
Izvela: Roberta Weissman Nagy
Lokacija: Muzil, napušteni vojni kompleks, vojna zona bez dozvole prilaska, Pula, Istra, Hrvatska
Datum: 21.11.2020. Vreme: 11–14 h, u trajanju od tri sata
Misplaced Women?, delegirani performans Tanje Ostojić, Score #1, izvela: Roberta Weissman Nagy, Muzil, Pula, 2020. Fotografija: Zoltan Nagy
Opis i refleksije:
Ja sam dijete vojnog lica. Dijete nekog drugog svijeta. Priključila sam se Misplaced Women? performans-projektu u želji da preispitam spoznaje o sebi kao ženi, upravo kroz ogoljavanje i prezentiranje sadržaja svoje „torbe“, odnosno, intimnog, skrivenog i erotičnog svijeta osobnosti. Na prvi pogled bezazleno istresanje sadržaja osobne torbe, uprizoreno na lokaciji za koju sam smatrala da je jedna od onih koje su me trajno oblikovale kao ženu, postalo je duboko emotivno iskustvo proživljavanja vlastite fragilnosti i ženskosti, te vrtlog emotivnih i uznemirujućih reakcija koje me povezuju sa lokacijom i prošlošću.
“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy
Trajno napušten sablasni prostor vojnog kompleksa, koji je JNA mirno i bez razaranja napustila tokom rata, 15. Decembra 1991. u 17 sati, i u koji je i danas nemoguće ući bez dozvole Ministarstva obrane, posjetila sam pre nekih 50-tak godina, jednog ranog hladnog jutra sa svojim ocem, kapetanom bojnog broda, koji je imao ured u zgradi ispred koje je snimljen performans. Sećam se da je danas zaraslo dvorište tada bilo čisto i uredno. U njemu je stajalo nekoliko stotina mladih mornara iz cijele Jugoslavije pod punom spremom, koji su čekali prekomandu. Razgovarali su i pušili.
“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy
Sjećam se zvukova, mirisa i osjećaja, a posebno njihovih pogleda, dok sam kao petogodišnja djevojčica prolazila u mimohodu i pela se potom stepenicama, ulazeći u zgradu. Neki su bili ljubazni, osmjehnuli se, a neki su me sa vidljivim prijezirom ružno gledali, čak i psovali.
“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Video-still: Zoltan Nagy
Osjećaje bespomoćnosti i nejasnog straha koji su usledili odmah nakon nesvesnog prepoznavanja da sam poslatala meta kolektivne emocije, koje su mi tada izazvali, došla sam sada istresti pred njih, kao odrasla žena. Stajala sam sama pred tisuću ljudi kojih nije bilo. Strahovita je energija i dalje prisutna na tom trgu.
Strah, suze, inat, ponos i snaga prepliću se kroz pokret dizanja ruku i čin izvrtanja torbe. Intenzivno sam doživela ovaj performans, kao veliku snagu i kao usud. Doneo mi je osećaj pomirenja, da konačno mogu biti to što jesam, što sam postala, sa skinutim cipelama, bosa, bez rezerve prisutna, baš tu na javnom platou u zabranjenoj zoni gdje odavna nikog više nema.
“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Photo: Roberta Weissman Nagy
Orkanska bura koja je kao neminovnost toga dana bila sveprisutna, dotakla se i predmeta iz moje torbe, pomno odabranih da simboliziraju svaki segment mog života, uključuju i oktobarski broj časpisa Cosmopolitan, koji je tek izašao, i u njemu, članak o meni — da žene čitaju tko sam. Tek sam prazneći torbu saznala koliko još imam nesvesnih delova sebe. Istresajući sebstvo, sagledavši akt ove izjave, plakala sam čitavih sat vremena.
“Misplaced Women?”, delegated performance by Tanja Ostojić, “Score 1/ Unpacking a Bag of Your Own”, Performed by: Roberta Weissman Nagy, 21.11.2020, Muzil, Pula, Istria. Photo: Roberta Weissman Nagy
O Muzilu:
Iako se nalazi unutar grada, Muzil je oduvijek predstavljao zagonetku za većinu Puljana i Puležanki. Od 1859 godine kada Austrougarska određuje Pulu za svoju glavnu ratnu luku, pa sve do 2007. godine ova ogormna zona, površine od 180 hektara, bila je zatvorena za javnost. Tu su se smjenjivale razne vojske: Austrougarska, Italijanska, vojska Kraljevine Jugoslavije, SFR Jugoslavije, i Hrvatske. Vojni kompleks Muzil je do raspada Jugoslavije koristila Jugoslovenska ratna mornarica (JRM). Po uspostavi Rrepublike Hrvatske, kompleks je kao i cjelokupna vojna imovina prešao u korištenje Hrvatske vojske. Danas je napušten i u statusu iščekivanja novog vlasnika, i prenamjene, jer je nejasan odnos vlasništva između Republike Hrvatske, Ministarstva obrane te samog Grada Pule na čijem je teritoriju kompleks, a za koji građani pokazuju interes u smislu prenamjene u javni prostor za kulturne i druge urbane sadržaje.
O autorki:
Roberta Weissman Nagy je umjetnica koja u svom radu kroz različite medije otvara pitanja o objektivnoj i subjektivnoj korelacij i realnosti. Ova puležanka je diplomirala na FLU u Beogradu 1988. godine, međunarodno je aktivna na preko 80 izložbi, te je nagrađivana za svoj umjetnički i pedagoški rad.
Fotografije: Zoltan Nagy / Roberta Weissman Nagy
Videast: Zoltan Nagy
Tekst napisala: Roberta Weissman Nagy
Tekst uredila i prvi put objavila na Misplaced Women? blogu: Tanja Ostojić
Molim Vas pogledajte priloge i članke koji se direktno nadovezuju na ovaj:
Evo prvistigli su i prvi prilozi za performans solidarnosti:
Misplaced Women?, delegirani performans Tanje Ostojić,
Score#1: Raspakivanje lične torbe
Performans izvodi: Lidija Antonović
Datum 11.11.2020. Vreme: 16-16:30h, u trajanju od 30 minuta
Lokacija: Na stepeništu kod Hotela Srbija, Šumice, Beograd
Fotografije: Teodora Sarić
Opis: Pored nas su prolazili nezainteresovani ljudi sa maskama. Oni koji su stali nisu komentarisali. Kada se završio performans, samo je jedna žena pitala šta sam radila, i to tek kada smo se zajedno našle u autobusu. Objasnila sam joj da sam radila performans po partituri umetnice Tanje Ostojić. Stepenište kod hotela je nekada bilo prepuno turista i bogatijih migranata dok se nije pojavila pandemija korona virusa.
Misplaced Women?, delegirani performans Tanje Ostojić, Raspakivanje lične torbe, izvela: Lidija Antonović, 11.11.2020, Hotel Srbija, Beograd. Foto: Teodora SarićMisplaced Women?, delegirani performans Tanje Ostojić, Raspakivanje lične torbe, izvela: Lidija Antonović, 11.11.2020, Hotel Srbija, Beograd. Foto: Teodora Sarić
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2. Misplaced Women?, delegirani performans Tanje Ostojić
Score#1: Raspakivanje lične torbe
Perfromans izvodi: Nela Antonović
Datum 11.11.2020. Vreme: 17.30–18:15h, u trajanju od 45 minuta
Lokacija: Gandijeva ulica, na stazi prema tržnom centru, Novi Beograd
Fotografije: Lidija Antonović
Opis: Odabrala sam klupu na kojoj su, do pojave virusa, migranti često prespavali. To je bezbedno mesto u blizini tržnog centra, osvetljeno i skriveno. Izgovarala sam “missplaced woman”, kako bih više privukla pažnju i onima koji ne znaju šta to znači. Pitanja prolaznika su uglavnom bila da im protumačim šta govorim i zašto. Jedna tinejdžerka je rekla da će da istraži na internetu ko je to Tanja Ostojić. Jedna starija žena je dugo stajala i gledala. Na kraju mi je rekla da dobro dezinfikujem sve kada se vratim kući.
Misplaced Women?, delegirani performans Tanje Ostojić, Raspakivanje lične torbe, izvela: Nela Antonović, 11.11.2020, Gandijeva ulica, Novi Beograd Foto: Lidija AntonovićMisplaced Women?, delegirani performans Tanje Ostojić, Raspakivanje lične torbe, izvela: Nela Antonović, 11.11.2020, Gandijeva ulica, Novi Beograd Foto: Lidija Antonović
Veliko hvala: Lidiji Antonović, Neli Antonović i Teodori Sarić
Molim Vas pogledajte priloge i članke koji se direktno nadovezuju na ovaj:
U jeku aktuelnih progona, pretnji, i vređanja savremenih umetnika u Srbiji, a posebno performans umetnika, strip crtača, kao i članova Upravnog odbora i Tela ULUS-a koji orkestriraju mediji, pojedinci i grupe ekstremista, pozivam sve na solidarnost! Pripremajući svoj rad za pretstojeću Jesenju izložbu* Udruženja Likovnih Umetnika Srbije u Paviljonu Cvijeta Zuzorić na Kalemegdanu, upućujem poziv za jedan praktični ogled, za vas, vašu decu i prijatelje: pokušajte da se bavite performans umetnošću uz primenu ovih jednostavnih instrukcija. Tu sam ako bude pitanja.
Tanja Ostojić: MISPLACED WOMEN? (2009-2020) delegirani performans
Partitura za izvodjenje performansa, br.2: Držanje natpisa
Manje od sat vremena, sa ili bez priprema, jedan performer
Instrukcije:
Odaberite javni prostor značajan za migracije koji vas posebno intrigira.
Napravite svoj Misplaced Women? / Misplaced Man? / Misplaced Human?natpis ili baner (na kartonu, komadu papira, ili na tkanini. Može biti crtež, vez ili kolaž).
Držite natpis stojeći na odabranom mestu barem pola sata.
Zamolite nekoga da vas fotografiše dok tako stojite.
Možete da izvedete istu akciju na različitim lokacijama ili u različita doba dana, i da ih uporedite. U tom slučaju možete nacrtati mapu lokacija na kojima ste izveli performans.
Drawing by David Caines of Elena Marchevska holding the “Misplaced Women?” sign at Heathrow Airport London, realised in the frame of the “Misplaced Women?” performance art workshop in the public space by Tanja Ostojić, organized by LADA, London, December 2016.
Napomena:
Pozivam vas da razmislite o tome kako se osećate dok držite natpis, kako to rezonuje sa vašim životnim iskustvom, kako lokacije koje ste odabrali pulsiraju. Budite otvoreni za razgovor sa prolaznicima o natpisu koji držite, o problemima kojih se on dotiče i o tome šta oni imaju da kažu o tome.
Objavljivanje:
Donesite svoj prilog (u formi natpisa, crteža, beleški, fotografija) na Jesenju izložbu* ULUS-a, Paviljon Cvijeta Zuzorić, Mali Kalemegdan, Beograd. / Pošaljite svoj prilog za objavljivanje na Misplaced Women? blogu
Autorstvo i objavljivanje:
Sa “Misplaced Women?” projektom obraćamo posebnu pažnju na koautorstvo. Molimo vas da potpišete sopstvenu akciju kada je delite na društvenim mrežama sa: Misplaced Women?, delegirani performans Tanje Ostojić, Score#1 / Score#2, vaše ime i prezime, datum, trajanje i lokacija. Mi ćemo učiniti isto sa vašim prilozima. Molimo vas da nas obavestite da li ste saglasni sa objavljivanjem vašeg priloga na Misplaced Women? blogu i u kontekstu izložbi arhiva projekta.
Mis(s)placed Women? (2009-2022) is an ongoing art project by Tanja Ostojić, Berlin based internationally renowned performance and interdisciplinary artist of Yugoslav origin. Mis(s)placed Women?, is a collaborative art project, ongoing since 2009, consisting of performances, performance series, performance art workshops and delegated performances, including contributions by over 170 individuals from six continents. ... Continue reading →
Misplaced Women? 