Posts Tagged ‘public space’

Open Call for participants for the “Misplaced Women?” performance workshop in the public space with Tanja Ostojić, in Innsbruck, May 11-13 2018, with a presentation in Die Bäckerei

In Innsbruck, News, Workshops on February 19, 2018 at 4:31 pm

This is the Open Call for participants of the Misplaced Women? 3-day-long performance art workshop in the public space with Tanja Ostojić, May 11-13 2018, with a public presentation in Die Bäckerei, Kulturbackstube, Innsbruck, Austria

Participants of all backgrounds, ages, genders and levels of experience that can commit to participate for the entire duration of the workshop are welcome, but we particularly encourage those who are interested in issues of migration, performance art, conditions related to the ones identifying as women, representations of gender and art in the public realm. Participants are invited and encouraged to share and exchange about experiences and issues of migration, displacement, exposure and privilege and to enact some of the Misplaced Women? performance scores. The workshop is free of charge, warm drinks and snacks will be provided, professional photo documentation of participants work will be provided as well, and due to limited numbers of places we ask you kindly to apply.

The deadline for applications is Monday, March 19 2018.

During the workshop we will all have an opportunity to perform in the public spaces, and outcomes will be presented to the public at the third day of the workshop at the Die Bäckerei, Kulturbackstube and included on the Misplaced Women? project website.

This project, including the workshop and group and individual performances in the public spaces, have been chosen for realisation in the frame of the Kunst im öffentlichen Raum des Landes Tirol, supported by the region of Tyrol. The press and media communication are done in collaboration with the Tiroler Künstlerschaft.



“Misplaced Women?” performance workshop by Tanja Ostojić at Info Park, Belgrade (2015). (Group intervention, including: Tanja Ostojić, Sunčica Šido, Nela Antonović) Photo: Lidija Antonović

Deutsche Übersetzung  

Please reed about the project and see more workshop and application relevant details below:

About the project:  

Misplaced Women? is an art project by Tanja Ostojić that consists of performances, performance series, workshops and delegated performances, ongoing since 2009, including contributions by international artists, students and people from divers backgrounds. Within this project we embody and enact some of everyday life’s activities that thematise displacement, as it is known to transients, migrants, war and disaster refugees and to the itinerant artists travelling the world to earn their living. Those performances deal with continuing themes of migration, and relations of power and vulnerability with regard to the mobile and in particular the female body, an aspect that figured prominently in numerous previous works of mine.

About the workshop leader: 

Tanja Ostojić (*1972) is a renowned Berlin based, Yugoslavian born performance and interdisciplinary artist whose artworks engage with feminism and migration politics. She includes herself as a character in performances and uses diverse media in her artistic researches, thereby examining social configurations and relations of power. She works predominantly from the migrant woman’s perspective, from within specific social contexts. The approaches of her work are defined by political positioning and the integration of recipients. Since 1994 she presented her work in numerous exhibitions, festivals and venues around the world. She has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.

About the workshop:

The “Misplaced Women?” project involves the unpacking of a suitcase, a plastic bag, a handbag or a similar object in a public sphere, whereby these objects come to stand for a displacement, as theme that is common in everyday experiences of transients, migrants, homeless, war and disaster refugees. The workshop aims to familiarise the participants with the topics and to stimulate discussion and interventions in the variety of public spaces.

The first part of the workshop includes getting together, informing and communicating, whereby the participants shall exchange with each other about individual experiences and the aims of the project.

During the second part, the participants are encouraged and supported to enact live performances and interventions in the streets and parks of Innsbruck. Public performances will be documented by a professional photographer.

The outcomes of the workshop will be presented to the public at the third day in Die Bäckerei, Kulturbackstube in Innsbruck. All participants of the workshop are invited to take active part in this presentation and the following discussion.

The documentation, notes and reflections from the workshop will be gathered, edited and published on the Misplaced Women? project website. 


Dates of the workshop:

Friday, Saturday and Sunday May 11-13, 2018.

The deadline for applications is Monday, March 19 2018.

Who can apply: 

Students and participants of all backgrounds and genders that can commit to participate for the entire duration of the workshop are welcome. No particular language skills are required. We welcome people with any kind of “disabilities” and the ones who do not speak English or Deutsch. Please specify any special requirements in your application.

The event is free of charge, but due to limited numbers we ask interested people to apply. Please send an email to tanjaostojicart (AT) gmail.com with the subject Misplaced Women?  Innsbruck and write one short motivational and biographical paragraph. You are welcome to add a link to your personal home page if you have one and your contact information.

Additional links:

Misplaced Women? project

Tanja Ostojić, books

Die Bäckerei, Kulturbackstube, Dreiheiligenstraße 21a, Innsbruck, Austria


Drawing by David Caines of the performance by Dagmara Bilon in the frame of the “Misplaced Women?” performance workshop by Tanja Ostojic in LADA, London (2016)


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

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

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

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




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

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


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



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

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

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

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

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



Text written by Dagmara Bilon

Edited by Tanja Ostojić and Danyel Ferreri

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


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

Teresa Albor´s performances, The Yard Theatre, Hackney Wick and Westfield Shopping Mall, Stratford London, December 13 and 14, 2016. in the frame of Tanja Ostojić´s “Misplaced Women?” in LADA

In Borders, London, Performances, Shopping Center, Stories, Workshops on February 12, 2017 at 3:31 pm

In the frame of Tanja Ostojić´s “Misplaced Women?” workshop hosted by Live Arts Development Agency London and Elena Marchevska, Teresa Albor realised a series of two very strong performances on displacement:

December 13, 2016, The Yard Theatre, Hackney Wick, 2-4pm

December 14, 2016, Westfield Shopping Mall, near Olympic Park, Stratford, 1:45-2pm

On December 16, 2016 she wrote the following related statement:

Packing up the large objects this morning, the bright orange life jacket (child size), the beaded scarf, the soft black little girl’s jacket.  The smell— part smoke, part sweat, musty, human.  Then the small objects—into the orange envelopes and then the zip lock bag, the bits and pieces of jewelry, including the fragile, fragile necklace, all tangled up, hopelessly tangled up.

I imagine,the women who are preparing to be evacuated from Aleppo this morning.  They are packing up what little they can bring.  Little girls (perhaps oblivious), teenage girls (dreaming of a future?), mothers (thinking of their children’s needs).

Clio looks good in red so I have bought her a red dress.  Libby wants a particular book for her medical studies.  I put the red dress in a black box and tie a red ribbon around it.  I wrap the book in silver paper.

Someone else, once carefully packed the things I brought to Hackney Wick. All these objects once belonged to others, who took risks, who are hopefully somewhere where they feel safe, where they can dream, love, argue, fall out of love, make plans for the holidays.

The mall is busy.  People are trying to find things to give to others.  To make them smile, to show somehow—as impossible as it might be—how much they love them.


Please see Teresa Albor´s video of her performance in front of The Yard Theatre, Hackney Wick, London

The necklace is hopelessly tangled.  I spend a good hour trying to ease the knots out.  First I try to soften the snarl, gently easing the tiny chain into a loose little heap.  Then I try to find the ends and see how long a length of chain is possible.  But this makes the knot in the middle grow tighter and tighter.  My fingers are numb from the cold, with little dents where I have been holding the chain.  It seems maddeningly simple.  I picture the untangled chain.  I picture it hanging around the neck of a woman.  She is smiling.

Tosha needs someone to babysit.  It’s not easy being a single mother.  She says it’s hard for her, now that she has a son, to watch the news, to see woman and children, the bombardment, their desperate flight.

I feel vulnerable sitting on the cement paving stone outside the Omega watch store.  Someone else has the power.  A man with a vest that says “security”.  Calling out names: Amena, Yana, Ola, Liliane, Nour, Kamar, Lamma Dayoub, Qamar, Haya, Zeinah, Aya, Nooda, Ranim, Reem, Asil. Please be safe.  What is the worst that can happen to me?  What is the best thing that can happen to you?


Teresa Albor performing in Westfield Shopping Mall, London, (December 14, 2016. 1:45-2pm) Photo: Tanja Ostojić



Teresa Albor performing in Westfield Shopping Mall, London, (December 14, 2016. 1:45-2pm) Photo: Tanja Ostojić


Footnote: Clio, Libby and Tosha are Teresa´s daughters.


Things I learned in the workshop:

The advantages of being our own audience: Working together, watching each other, making work for each other to see, acting as a magnet in public spaces to draw others in, acting as a protective shield when there’s some question about our “right” to make work in public.  Being open to each other.  Allowing everyone to be at a different point in his or her process. Observing each other and learning from each other.

Explaining to security: The art of just describing what is actually happening. “I am looking for something.”  “She is wrapping a present.”  The power (see above) of being able to focus on an action whilst someone else does the explaining.

Gut feeling + props:  The need to allow your gut feeling to direct you, to give you ideas.  To have the props but then let the action evolve.  But to still be able to edit one’s self, and question one’s ideas, and not to incorporate every single idea.  I have so many ideas.

Also, I wanted to say how much this workshop meant to me. This was a new way for me to work with these objects– the second piece, a way to put myself into the work, to make myself a bit vulnerable. It has given me plenty to think about. Once again, thanks to Tanja Ostojic for her warmth, patience, openness– for making us all feel so safe, and so encouraged as artists.


Teresa Albor is London based performance and visual artist interested in how different groups of people negotiate the world. Her work is research-based and often involves broad collaboration. It can involve video/moving image, performance, installation, publication, community-based workshops, and forms of artist-led curation.





Photos: Tanja Ostojic

Video: Teresa Albor


Open Call for participants for Misplaced Women? performance workshop with Tanja Ostojić in London UK, December 13-14, 2016 hosted by Live Art Development Agency

In London, News, Workshops on October 14, 2016 at 3:05 pm

This Open Call for participants of Misplaced Women? performance workshop with Tanja Ostojić in London UK, December 13-14, 2016 hosted by Live Art Development Agency:

Participants of all backgrounds and levels of experience are welcome, but we particularly encourage those who are interested in issues of migration, representations of gender and art in the public realm.

The workshop is free and tea/coffee and lunch will be provided. We are able to contribute to travel costs for participants who are based outside London. The deadline for applications is Friday 4 November.

Outcomes will be presented to the public at the end of the second day of the workshop at the Live Art Development Agency and included on the Misplaced Women? project website.

Please reed about the project and see more application relevant details at the following link:


Good luck and looking forward to collaborate with you in London!


Marija Jevtić, Tanja Ostojić, Sunčica Šido and Nela Antonović performing Misplaced Women? inside the Info Park, Central Bus station Belgrade, Serbia, as one of the group performances in public spaces in Belgrade, conducted on October 29, 2015, during Misplaced Woman? workshop with Tanja Ostojić, thematising solidarity with the refuges on the Balkan route. Organised as a part of the From Diaspora to Diversity, Remont, Belgrade, Serbia. Photo: Lidija Antonović.


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’)


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.



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….



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.



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


Gare Routière d´Aix-en-Provence, France, December 16, 2015

In Aix-en-Provence, Bus-stations, Performances, Workshops on December 23, 2015 at 6:27 pm

On December 16, 2015, I conducted the “Missplaced Women?” workshop, on performance art, migration, public space and surveillance, with the participation of students and teachers of the École Supérieure des Beaux-Arts, Aix-en-Provence, France.

During the morning session of the workshop each participant shared with others her/ his own family and their own history of migration. Issues of identity, social structures, historical and contemporary roles and positions of art in society were discussed among others, along with the introduction to the “Misplaced Women?” project and the workshop goals. We talked as well about our motivations and expectations regarding the workshop.

Each participant has suggested and has chosen one location in the city that is significant for migration, and we all made together a 2,5-hour-long performance tour, doing, witnessing and discussing at each of the locations one individual performance.

The choice of locations was very diverse, as well as each of our own histories, like wise the diversity of contents of our own pockets and of each of our luggage that we brought along in order to unpack them during the performances.

The quality of every of the performances was very high thanks to the strong motivation and strong presence of each of the individuals, as well as the numerous interventions and responses from security personal and passing buyers who witnessed our interventions. It was one of the most intimate and one of the most intense one-day workshops I had an opportunity to lead so far.

Workshop participants:

–   Anaïs Clercx

–   Anastasio William

–   Lise Godard

–   Sigrid Pawelke

–   Tanja Ostojic


Tanja Ostojic:

Gare Routière d´Aix-en-Provence, the city bus station, has been the location of my choice. Each time I arrived to Aix, weather I came from Nice airport or from a day trip to Marseille, this was at this station. I had with me my obligatory purse with portmonee and tabac, a cotton bag with few necessities, including a plastic bag with 5 mandarines. I have chosen one of the first available stone benches placing my bags on it.  I started with undressing my coat (made out of up-cycled military blanket), turning it inside out. Then I took off my belt. I took out of my purse and my bags and my wallet each single item, turning them inside out. Mandarines I opened one by one, then I distributed them to people around, to calm down security guy who was shouting on Sigrid as she was taking pictures of my intervention. Mandarines are very helpful when one is on the road. Good for thirst and energy, practical to open and to share. A group of local youngsters gathered around and most of us engaged in conversation with them after the performance. It came up that actually none of them was really local thanks to the very rich family migration histories.

As soon as we left the station we came by a women who has discovered some nice clothes for two of her kids in plastic bags next to the container. She took each piece of clothes out of the bag, looked if it was proper, nice, in the right size, and ones she decided for it, she arranged it temporarily on near by railing. I observed attentively the way she was doing it and took discretely one picture of her from behind. She turned to me and as I confirmed to speak Italian, she explained her migration and family story, and asked for mine. She asked me as well for a change and I asked her to take another snap-shot of her. And so we had a friendly and positive exchange.


Photos: Sigrid Pawelke / Tanja Ostojic

Video: Sigrid Pawelke










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