The non-fungible body?
Virtuelle Post-Performance Ausstellung
„Non-fungible Body" bezieht sich auf den Körper als nicht austauschbare Einheit. Dieser Titel diente als Leitmotiv für die erste Ausgabe eines neuen Performance-Festivals, das vom 17. bis 19. Juni 2022 im OK und Landestheater Linz stattfand.
Während die Performance das Digitale lange Zeit gemieden hat, haben die globale Pandemie und unser sich ständig weiterentwickelndes virtuelles Leben im Zeitalter der sozialen Medien ihre künstlerischen Horizonte erweitert. Während wir vom Web 2.0 zum Web 3.0 übergehen, wird die Frage, wie Performance-Künstler mit dem lebenden Körper und seiner Beziehung zu neu entstehenden virtuellen Ökonomien umgehen, immer relevanter.
"The Non-fungible Body?" fragt nach der (Un-)Ersetzbarkeit in den Kontexten des Virtuellen und des Realen. Wie lässt sich die Erfahrung der Performance in Performance-Dokumente übersetzen und was kann als performancebasierte Dokumentationspraxis betrachtet werden? Die Praktiken der in dieser Ausstellung präsentierten Künstlerinnen und Künstler befassen sich mit den Überschneidungen von Körper und Archiv sowie mit Performance im Zusammenhang mit Internetkulturen und NFTs.
Konzept und Kuratierung: Freda Fiala und River Lin
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Der virtuelle Standort der OÖ Landes-Kultur GmbH, befindet sich in der 17 Clarion Alley auf der Insel San Francisco im Metaverse Voxels.
Die Ausstellung kann in einer archivierten Version betrachtet werden:
LISTE DER WERKE
Cibelle Cavalli Bastos
Sonja Loves You
Video with audio, 1'28". Part of the Sonja Khalecallon in Las Venus Resort Palace Hotel Installation and Performance Body of Work.
Las Venus Resort Palace Hotel is the only place that will have been left at the end of the world, after the gentrification of the galaxy and the apocalypse. Welcome to the retro-future where time curves in its own spiral! Sonja Khalecallon, Cibelle Cavalli Bastos’ Drag Queen and chaotic High Femme being is a cabaret singer, multitasking cosmic healer, manicurist, cleaner, exotic dancer and TV sales-femme, who reports from her dystopian present as an emissary of the deep entrenchment of a techno capitalist society with its future pasts.
Mx. CIBELLE CAVALLI BASTOS (Brazil) Non-binary, They/Them pronouns. Their practice as research engages with the changing conceptualisations of identity, performativity, pictorial communication and behavioural patterns in the digital age. Their works have been presented by Martin Gropius Bau (Berlin), ICA (London), MASP (São Paulo), Steirischer Herbst (Graz), NRW-Forum Dusseldorf, at the Transmediale (Berlin) and the São Paulo Biennial among others.
Marita Bullmann’s works form engagements with familiar materials, actions, spaces and places. In her performances, she seeks a direct encounter between body and space. Her working method can be understood as an ephemeral, site- and situation-specific process. She creates abstract interpretations that actualise our perception and observation of the things around us. It is her intention to influence mechanisms of seeing and perceiving aside of cultural conditioning and to create a new, ‘third space’, that allows us to become aware of the act of recognition.
MARITA BULLMANN (Germany) Performance, installation and photography artist.
She studied at the Folkwang University of the Arts (Essen) and at the Bezalel Academy of Art and Design (Jerusalem). She has presented works across Europe, Asia and America with support of Kunststiftung NRW, Goethe Institut and the Ministry for Culture and Science of the federal state of NRW. She co-founded the action laboratory PAErsche in 2011 and since 2013 organises the performance art platform INTERVAL in Essen.
Still Changing: Skyline
Yun-Chen Chang’s performances investigate the expanded notion of the choreographic, exploring the durational, the transformative – sites and situations where a relational encounter occurs between material and vital bodies. She enacts a continual process of constructing and deconstructing a sculpture made by mass- produced chairs, in which she is also physically embedded, engaging the dynamic relations between stillness and movement, scores and chances, products and processes, inorganic matter and living bodies.
YUN-CHEN CHANG (Taiwan) is a dance and performance artist, currently based in Finland. She has worked with Legend Lin Dance Theatre and with River Lin among others. In 2021, Yun- Chen Chang created her performance project Still Changing as part of the “Unboxing: Live Art Arena” in Taipei, which was then nominated for the Taishin Arts Award. In 2022, she collaborated with Jarkko Partanen and developed Still Changing: Landscape in Helsinki. Still Changing: Skyline makes the third edition of this performance-series.
Six Hours Silence in Linz
Beatrice Didier revisits previous performances which she made in Linz in the past years. Through providing archival materials such as photographs, objects and costumes from the performances as installation, audiences are invited to immerse themselves into memories of the artist and re-imagine the liveness of the works. The artist, in addition, is present and sculpts her body as a live- installation, engaging with one audience member at a time. She sits with them face to face with a mirror set up between them, to reflect viewers and the environment on both sides. Six Hours Silence in Linz is a durational ritual with minimal actions, speculating on the notion of personal history and time.
BEATRICE DIDIER (Belgium) Studied at the Conservatoire Royal de Bruxelles. Her encounter with Monica Klingler and Boris Nieslony in 2005 introduced her to performance, which became her main artistic medium. Since then, she has performed across Europe, in Mexico, China, India and Myanmar. Her performance-based installations have been exhibited at Atelier Salzamt (Linz), Galerie 10/12 (Brussels) and UPON festival (Chengdu). She is a member of PAErsche, Ricochets and curator/co-organiser of the platform ACTUS.
Jan Hakon Erichsen
NFB FESTIVAL NFT
Words Like Daggers
A pasta man, with a spaghetti plan
JAN HAKON ERICHSEN (Norway) works with performance-based videos, shared daily across social media. His practice is informed by minimalist and performative sculpture, as he constructs interactive experiences from common, everyday objects by activating them in relation to strange spatial or temporal coordinates. At the moment, his main focus is making what he calls ‘short destruction videos’, which he posts everyday on his Instagram account. Additionally, he established himself in the NFT-space, minting his performances across different platforms since early 2021. His work received attention from media across the globe, including Art in America, Kunstforum International and New York Magazine. Having achieved acclaimed success in the virtual world, his ‘short video’ performances will now premiere in a museum for the first time.
David Henry Nobody Jr.
Babbling Brook Breaking Red Ahead
Turning Tables Tableaux
Inverted Champagne SuperNova Fountain
Ride the White Horse
David Henry Nobody Jr. is a performance persona created by the artist David Henry Brown Jr. as a response to social media and now Web 3.0. Masking and reinventing his public performance self with food, toys, and other consumerist products of Western pop-culture, his interventionist/immersionist approach to making performance and (live-) sculptures clashes the intuitive and visceral with the reflexive and intellectual. The ‘ephemeral recordings’ of his performances have drawn a large crowd of followers across social media platforms, building to the artist’s success in the NFT-space.
David Henry NOBODY Jr. (US) During his many different artistic periods, David Henry Brown Jr.’s work often involved the creation of characters that perform and make objects. His work first became noted when he impersonated the New York socialite Alex von Fürstenberg, crashing VIP parties as ‘Alex’ for one whole year in 2000, meeting the Clintons, Puff Daddy and other luminaries. In his 1999 Stalking Donald Trump performances, he followed Trump for a year. David is a founding member of the Fantastic Nobodies, an outsider/performance art collective, which was a collaboration of artists from 2003-2013. His work has garnered much online following and media reporting in the last years and has been featured on the BBC, VICE, The Huffington Post and HiFructose.
And we will return to the Wonderful New World
We eat while we check the news, we eat while reading about horror, happening right now
We watch the horror like a movie, then switch off the news and finish our desert
I live in this wonderful place with all the cafés, all the nice food, the good-quality life and the chocolate
while every day people die in the place that I come from
I am eating and eating and eating until I spit with chocolate.
Maria Kulikovska’s “Performative Sculptures” are casts from her own body, which she has made from different materials such as using paraffin, chocolate, soap and gypsum. The vulnerability of the body, but also its endurance and stamina, as well as Kulikovska’s self-perception of being a female Ukrainian artist are some of the core themes in her work. The chocolate casts in this performance confront us with a bold material reference, symbolising European post-war wealth, pointing to the close correlation of economic growth, abundance and human greed.
Maria Kulikovska is a multimedia artist, architect, actionist-performer, researcher and lecturer. She was born in 1988 in Kerch, Autonomous Republic of Crimea, Ukraine. After the annexation of Crimea, Maria Kulikovska lived and worked mainly in Kyiv, where she founded the international artistic group and open feminist platform “Flowers of Democracy” in 2015 and the “School of Political Performance” project in 2017. Since 2016, Maria Kulikovska collaborates with the architect-engineer Uleg Vinnichenko under the name MKUV Studio. Together, they set up the international non-binary art space GARAGE33 in Kyiv, where they lived and worked until the beginning of the war. Maria Kulikovska is currently hosted as Artist in Residency by the OÖLKG. Her works will be shown in a solo-exhibition at Francisco Carolinum in September 2022.
Caught in the Blockchain (Performative Token 1)
Caught in the Blockchain (Performative Token 2)
Caught in the Blockchain (Performative Token 3)
Caught in the Blockchain (Performative Token 4)
Caught in the Blockchain (Performative Token 5)
Caught in the Blockchain (Performative Token 6)
Caught in the Blockchain (Performative Token 7)
Caught in the Blockchain unfolds as a choreographic performance landscape - a space activated only through actions of trading, with the audience. The displayed images hold the collection of items that were exchanged between the audience members and the artists in the live-performance during the Non-fungible Body? festival. Performers Sara Lanner and Costas Kekis devoted themselves to dynamics that we encounter in virtual space and that shape our perception of reality and intimacy, possession and control. Dynamic interventions, on a landscape of salt, tackled themes such as mining, cryptocurrencies, NFTs, artificial intelligence and digital intimacy. Audience members becme accomplices, by constantly re- activating the landscape anew and were rewarded with ‘mined’ objects, as well as choreographies dedicated specifically to them. Whoever became part of the blockchain for this evening will be registered there forever.
Concept, artistic direction: Sara Lanner
Choreography, performance: Costas Kekis, Sara Lanner
SARA LANNER (Austria) is a dancer, choreographer and performance artist in the field of performing arts as well as visual arts. Her work deals with topics of the body in relation to its context and the self as social choreography and sculpture. Her works take place on stage, in exhibition spaces, in the public space and in off-spaces. She recently received the H13 Niederoesterreich Price for Performance 2021, as well as the Ö1 audience price of the Ö1 Talentebörse 2020 at Leopold Museum Vienna.
When the hands start singing
Sajan Mani explores his mother tongue Malayalam and its complicated cultural history. German missionary and linguist Hermann Gundert standardised Malayalam and published the first Malayalam dictionary at the end of the 19th century. Conversion to Christianity enabled Dalit people, who had been forbidden to read and write, to escape repressive social hierarchies and economic marginalisation. Nevertheless, Gundert’s work took place in a colonial context. This reflects in the fact that archives in Europe store a multitude of materials related to the Dalit people, but are difficult to access for artists and scholars from India. Sajan Mani’s performance covers the space with expressive renderings of original Malayalam songs, responding to the call of activist and poet Poykayil Appachan’s lament: “There was none on the earth to write the story of my race.”
Numerous Yoga schools are offered in Europe. However, Yoga does not only stand for meditative self-awareness, but also conflicts global North- South hierarchies and serves as a soft power strategy. Against this background, Political Yoga explores how social, cultural and geopolitical power dispositions are reproduced in a commercialised body practice.
SAJAN MANI (India) is an interdisciplinary artist hailing from a family of rubber tappers. His work voices intersectional issues of marginalised peoples of India via his ‘Black Dalit body’. His work has been presented by Kochi Biennale Foundation (India), Times Art Center (Berlin), CODA Oslo International Dance Festival, Haus der Kunst (Munich) and the Vancouver Biennale among others. In 2021 he was awarded the Berlin Art Prize and in 2022 the Prince Claus Mentorship Award.
Performatively addressing the notion of archive, Boris Nieslonly presents Double Bind as a body of his artistic works. By performing the iconic works MA and Nature Study: Stone, the artist examines the directions of gaze between humans and objects, engaging the non-human as a matter of collection and archive. Through witnessing the live-setting, audience members are invited to rethink how the artist enacts archival and ephemeral materials in relation to, and with his body.
BORIS NIESLONY (Germany) works since the 1970s as a performance artist, curator, archivist, and scholar. From 1981 he has developed a comprehensive archive on performance art, artist-run spaces and their theoretical and philosophical foundations. Nieslony initiated ‘Black Market International’ together with other European performance artists in 1985, the performance network Arts Service Association (ASA) in 1990 and the first performance conference in Cologne 1995. In 2001 he founded the E.P.I., the European Performance Institute, and in 2010 initiated PAErsche, another performance network between artists, organisations and projects.
Yiannis Pappas’ long-duration performance addresses humans’ fundamental rights, in the face of current technological changes. The artist produces countless copies of the Human Rights declaration, that was first proclaimed by the United Nations General Assembly in Paris in 1948. However, his restless activism cannot be observed directly by the visitors, but can only be accessed via a live-stream. The shared experience between performer and audience comes into being only as a dissemination of the here and now to the there and then. How much do social participation and human connection weigh, in the face of extended reality technologies, including the so-called metaverse? With a persistent performative gesture, Yiannis Pappas declares an ultimate need: to expand the common standard of universal human rights and establish a shared ethics in our future physical and virtual spaces.
YIANNIS PAPPAS (Greece) is a visual and performance artist based in Berlin. Driven by a critical interest in the physical and symbolical enactment of spaces and archives, his artistic work explores how they are sustained both on a collective and institutional as well as on an individual and in(ter)dependent level. His work has been presented in the Venice Biennale of Architecture 2018, Athens Biennale 2016, 7th Berlin Biennale, 2020 Bangkok Biennale, Darb 1718 (Cairo), and at FIVC Festival (Chile) among others.
Gone by now (OK Linz)
Gone by now (OK Linz)
Gone by now (Musiktheater Linz)
Gone by now is a series of performative demonstrations, addressing the coming ‘meta universe’ with its advancing virtual reality simulations. Under the sign of freedom, these simulations are meant to create emotional experiences. Following the results of scientific research, they are programmed to manipulate the reactions and interactions of the human brain and the senses. At the invitation to contribute a performance work to the festival, Jianan Qu created his project as a collaboration with the Institute of Dance Arts (IDA) at Anton Bruckner Private University. He works with 20 dancers to translate the experience of technological immersion into physical sensation and expression. In other words, a simulation to the simulations. The performance highlights the value of the body and its irreplaceable ‘non-fungibility’, physically increasing the amount of world we perceive.
JIANAN QU (China) is a performance and visual artist. Starting from ‘the performative aspect of space, material and objects’ as well as ‘the present materiality of the body’, he initiates performative interactions between art fields, art spaces and institutions. Immaterial and reduced expressions are key elements in these inter- actions. As a diasporic individual, in-between spaces of understanding and the necessary misunderstanding concern not only his artistic but also life trajectory. His works have been shown at ImpulsTanz, Hong Kong Arts Festival, Vienna Art Week, in Ludwig Museum (Budapest), Organhaus (Chongqing) and Kunstraum Niederösterreich, among others. Qu currently lectures at Anton Bruckner Private University Linz
Xavier Le Roy
Product of Circumstances (1999)
Responding to the event ‘Body Currency’ at the Wiener Festwochen, Xavier Le Roy created Product of Circumstances in 1999. He uses the format of lecture-performance and choreography to blend artistic and scientific methods through his own body. As a staged autobiography, the performance contextualises his personal transition from an early career in the natural sciences, to choreography and performance practice. Le Roy traces the mechanisms and hierarchies to which he, as a ‘product of his circumstances’, is subject in the worlds of both science and art. Product of Circumstances can be considered an iconic piece that touches the intersection of the visual art and performance discourse, as well as the contexts of retrospecting and reenacting performance and the performing body as archive.
XAVIER LE ROY (France) works as choreographer and is a Professor at the Institute for Applied Theatre Studies in Gießen. He holds a doctorate in molecular biology from the University of Montpellier. Le Roy has performed with diverse renowned companies and choreographers before and whilst conceiving and initiating works by himself. His work has been presented internationally, including at Skulptur Projekte (Münster), Taikwun Contemporary Art Center (Hong Kong), Tapiès Foundation (Barcelona), MoMA PS1 (NYC), Kaldor Public Art Projects (Sydney), Centre Pompidou (Paris) and Biennale Danza (Venice).
WITH THE AWARENESS THAT SHE CANNOT CONTINUE ON THE PATH OF THE LIVING, SHE MAKES THE DECISION TO LEAVE IT
Sarah Trouche’s performance practice centres around cultural and political issues of our time, such as women rights, migration displacement and ecology:
“This is a performance that invites to experience a moment of sharing, in the light, through the prism of choreography, to make us rethink our immediate environment. Highlighting the notion of living things, and how we relate to Nature with a capital N. Ultimately, you become an ecological and eco-sensitive body and there will be reflection around eco-feminism.”
SARAH TROUCHE (France) The large part of Sarah Trouche‘s performances question the in-situ condition and temporality of the body as a sociopolitical entity. Intense travel, a mode of expedition, is one of her core methods of working. Through the strength of being present, the artist enters into exchanges, relations. She has performed and participated in numerous exhibitions internationally, including Paris Photo, MÉCA, Centre d’art le Lait, Le 104, Fondation Pernod Ricard (France), Artbat fest (Kazakhstan), Marrakech Biennial (Morocco), OCAC Taipei (Taiwan) and The Armory Show (NYC). Sarah Trouche has been named ‘Chevalier dans l’ordre des Arts et des Lettres’ in 2019.
Become Plum Blossom
Xie Rong’s Become Plum Blossom NFT shows the artist’s preparation process for her performance Chinese Knot, which she performed at the Non-fungible Body festival in Linz. The motif of the knot refers to how, before the invention of writing, people in ancient China tied knots on a rope to memorise important life events. The knotted symbol represents happiness, unity, harmony and prosperity. Ironically, the way the character itself is written also echoes sadness, death and ending. This literal double-bind serves the artist to dive into the story of a woman chained in a doorless shack that went viral on Chinese Social Media in late January 2022. In her performance Xie Rong engages with this highly mediated incident. By activating the pictorial capacity of old Chinese culture, she engages traditional motifs to become an in-between space of social, political and artistic expression.
XIE RONG (ECHO MORGAN) (China) Xie Rong’s works use stereotypical motifs of Chinoiserie and femininity, drawing attention to how ‘Chinese culture’ is aestheticised and exoticised in the so-called ‘West’. Her work explores territories of translation: between Chinese and English languages, between gestures and stillness, between her Chinese past and European present, between live performance and its visual documentation. Xie Rong has presented performances in gallery spaces, museums and festivals in the UK, France, China, Sweden, Egypt, Germany, Switzerland Australia and Korea.
In 2021, the Museum of Far Eastern Art (Israel) dedicated a solo-exhibition to her performance archive. She lives and works in London.