#twixtlab

“Hi people, it’s me! A herd and a caucus. A crepuscular groupuscule” by Panos Sklavenitis (open rehersal)

Human-turtles, human-frogs, demonized hens, chimpanzees and ostriches. Members of a sad groupuscule, inhabitants of an undefinable dystopian world, dark conspirators, isolated, miserable and ridiculous; a herd of wild animals and a political party conference at the same time. They develop their own social structures, their own language, rituals and meetings. Without being touched. No touch is permitted, neither between the group members nor with external parties. It’s me! is an ongoing project carried out with the collaboration of a group of performers at weekly meetings. The final event – if any – is not planned, but stays open to eventualities. So far, open rehearsals have been routed, while a rather direct goal is to carry out a series of performances and a video. The first open rehearsal of the project will be hosted by TWIXTlab, Monday, February 11, at 20:00.

Theo Aanttia

KRITISCHE WUNDEN / CRITICAL WOUNDS

HD video, colour, sound, 43 min

The video focuses on the gender, social and representational aspects of grief and self-injurious behavior in their connection to gendered violence and trauma.

It is a personal reflection on the human, philosophical and political value of grief in its bodily, psychic and public dimensions. Similar to Judith Butler, I see grief as a means of political change and of building a community based on the mutual responsibility for the psychic life of others.

The work is based on a research across several disciplines, such as anthropology, sociology, psychiatry and art history. I critically examine self-mutilation as an expression of mourning from the anthropological perspective, spontaneous self-injurious behavior as a psychiatric phenomenon, as well as the representation of pain and of the femininity in art history and popular culture and the use of self-injury in the feminist art of the 1970s.

I aimed to explore the representation of grief as a part of the performance of gender, and, drawing from my own experience of loss and violence and those of other women and members of LGBTQI community, the ambiguous connection between authenticity and culturally conditioned self-presentation within grieving as a psychic process. In the performance of mourning, the personal and public expressions interblend in such a way that the difference between reality and representation becomes irrelevant.

The video is based on several characteristic self-aggressive gestures of mourning, which occur in different cultures as a part of mourning traditions typically associated with women and, in this case, represent a visible part of the social conditioning of women linked to self-aggression. Among these gestures are wailing, hair pulling, cheeks/nail laceration, beating and cutting one’s body, self-immolation etc. At the same time, these mourning gestures bear significant similarities to violence against women in everyday life, as well as to the most frequent forms of self-injurious behavior.

πόδια και ονόματα

Tina Voreadi

ΕΝΑ ΤΡΥΦΕΡΟ ΠΑΡΑΜΥΘΙ

Είμαι ένας βαρύς σιδερένιος μηχανισμός Είμαι ένα φουσκωμένο μαρμάρινο άγαλμα Ένας ανίκητος διαυγής μαχητής

Κινούμαι στον χώρο σαν τον Άτλαντα Το έδαφος υποχωρεί στο βάδισμά μου [έλα να κάτσεις, δεν πρόσεξα την κοιλιά, άσε που σε νόμισα για παλλικάρι] Με λίγες τρίχες στο πρόσωπο θα ήμουν ένας μεγάλος γκαστρωμένος κλόουν

Γεννάω σαν τον Δία, απο το κεφάλι Πάντα προτιμούσα να γίνω πατέρας

How to Raise the Golden Child (and boost your artistic career)

Σύνολα/ Συμβάντα

Ianthi Aggelioglou

Το ζητούμενο αυτής της εργασίας είναι το πώς μέσα στο έργο μπορεί να υπάρχει ένα εσωτερικό σύστημα που να υπάρχει και να εξελίσσεται σε ακολουθία.

Σαν οργανισμοί που δημιουργούν περιβάλλοντα μέσα στα οποία γεννιούνται νέοι οργανισμοί ή σαν συμβάντα που δημιουργούν τις προϋποθέσεις των επόμενων συμβάντων. Πως κάτι γεννιέται μέσα από κάτι άλλο και πως αυτό εξελίσσεται.