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In that time the exposure of mass media brought the possibility to get attention for performance art through the use of media, as videos and photography in the upcoming magazines. This presence, depending on the nature of the performance, can be esoteric, shamanistic, instructive, provocative or entertaining. Important is, that in this time appeared the first scripts about the history of performance, demonstrating that there was a long tradition of artists, turning to live performance as one means among many of expressing their ideas, and that such events had played an important part in the history of art.

Artists did not merely use performance as a means to attract publicity to themselves. Performance has been considered as a way of bringing to life the many formal and conceptual ideas on which the making of art is based. Live gestures have constantly been used as a weapon against the conventions of established art.

In modern times as already mentioned above performance was also used as a political instrument. But not only for demonstrations in the Smartmobs or Die-ins performance became used as a weapon, also terrorists planned their assassinations as performances being aware of the great influence they create with their actions through a totally calculated mediatisation. At this point should be remembered the 11 September — the day of the attack on the Twin Towers in New York, that was denominated by Karlheinz Stockhausen as the biggest art work in world.

Performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Unlike theatre, the performer is the artist, seldom a character like an actor, and the content rarely follows a traditional plot or narrative. The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a view minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months.

Thus the challenge is to astound the audience and forcing them to think in new and unconventional ways about theatre and performing, to break conventions of traditional performing arts, and break down conventional ideas about the fixed definition of art. Already the Dadaists were trying to bring art into the daily life, to make your life to art.

This approach continued in the work of Allan Kaprow, who tried through his Happenings to dissolve the separation between life, art, artist, and audience. For this reason its base has always been anarchic. By its very nature, performance defies precise or easy definition beyond the simple declaration that it is live art by artists. Any stricter definition would immediately negate the possibility of performance itself. For it draws freely on any number of disciplines and media — literature, poetry, theatre, music, dance, architecture and painting, as well as video, film, slides and narrative — for material, deploying them in any combination.

Indeed no other artistic form makes his or her own definition in the very process and manner of execution. How I can explain what I am really doing as a performance artist? Felicitas Aull Author. Add to cart.


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The artist Nezaket Ekici is standing in the middle of the room, her hair tangled with strings tautly stretched into every corner of the space, she is literally strung up. An indescribable anxiety fills the room. The seemingly unending process of liberation has myself and the other audience members holding our breath. It is as if I can feel the tugging and pulling on my own scalp. The basement of the DNA gallery has become a prison cell.

Ultimately finally! Die Sonate ist auf die Anzahl der Monitore abgestimmt. So ist die Komposition in der achtstelligen auf- und absteigenden diatonischen Tonleiter notiert. The artist is seen bobbing up and down in the Black Sea on eight video monitors, accompanied by the sound of the sea and a piano sonata which the artist composed and improvised. The sonata was written to correlate with the specific number of monitors, and therefore composed as ascending and descending variations of an eight tone diatonic scale.

The artist kneels in a pile of pork from a freshly slaughtered pig. She wears safety goggles and rubber gloves which refer to the Islamic law forbidding the touching and eating of pork. She holds up pieces of meat and sniffs at them as if to ascertain why the law exists. The sound of her breathing is amplified by a microphone and is clearly audible throughout the room. The work is a direct reference to her piece No Pork but Pig in which she spent several hours in a small pen with a living pig. Nezaket decided to perform her public confrontation, with more than kilos of raw pork, in a sterile white cube setting.

The artist awaited the audience blindfolded, dressed in black underwear, and wearing yellow rubber gloves. Her calm breathing could be heard over loudspeakers as she commenced her act by kneeling in front of the meat and searching for pieces of flesh with her hands. She suddenly brought a huge piece up to her face, and started to inhale its aroma noisily as the pace of performance intensified.

Movements became choreography as Nezaket started to dance, and caress the huge chunks of pork while bringing them to her nose. These human qualities were so convincing that the audience immediately registered and recognized them with loud applause, as the artist exited the stage. The artist Nezaket Ekici sits in a chair, in front of her stands an empty chair in which audience members can sit. She establishes an intense eye contact with each person who occupies the chair. Cameras are placed behind each of the chairs, providing close up shots of the eyes of both participants, which are then projected onto the wall.

Despite the intimacy of the situation, the size of the projections evokes a threatening atmosphere. Loud heartbeats are heard in the space, at times beating quickly, at times slowly, heightening the tension between the artist and the participant, as well as with the audience in general. Ankara In Ankara nobody volunteered to sit in the chair, I always had to actively request that they do so. In the end several people came to me and wanted to know if this was some kind of hypnosis.

This documentary film stems from an invitation by the Goethe Institute in Tiflis, Georgia. In it the artist interviews different people about where they are from and about the meaning of their names. Each interviewee, whether Georgian national, immigrant, guest worker or tourist, tells his or her own personal story. These portraits are interlaced with images of Tiflis and the surrounding countryside, providing a broader documentation of the local culture and the way of life of the people there.

In this piece the artist traces the path of her journeys and performances over the last ten years. For six hours or more she recounts her numerous works, while weaving in anecdotes about personal experiences collected in more than 80 cities, 30 countries and three continents. In the performance the artist, armed with nails, a hammer and red string, is seen spinning a web like network on a white wooden panel.

However, her Personal Map is not a relic, it is an art work in its own right, in the form of a floor installation. When we used the original plywood material of the performance to build a wall in our new art museum, Personal Map become a permanent part of our community center. The piece itself was like a dialogue between herself and the audience.

She allowed visitors to read bits of her life story which were written upon her body. The map itself consisted of a horizontal platform into which she drove nails, and then used red string to connect them. There was no record of her story, everything that was written upon her body disappeared the moment that she washed herself. However, the story itself continues to be told, from time to time, from one person to another.

Als wir das Original-Sperrholz der Performance benutzten, um eine Wand in unserem neuen Kunstmuseum zu bauen, wurde Personal Map zu einem dauerhaften Teil unseres Gemeinschaftsraums. Die Inszenierung selbst war wie ein Dialog zwischen ihr und dem Publikum. Die Geschichte selbst wird jedoch weiter gegeben, von Zeit zu Zeit, von einer Person an eine andere. Dort sollte er seine Festung bauen. According to local legend the former King of the South came to the city, where he met a wise woman. She advised him to walk along the banks of the river with a stick of incense Houng is Vietnamese for perfume until it went out, and that would be the spot on which he should build his fortress.

Thus she creates a new legend, literally making the Perfume River fragrant once again. It was breathtaking to see how enthusiastically my guide whom I had just met took to my spontaneous idea for a performance. He immediately lined up two boats for the next day and approached a seamstress, who sewed me an asian dress within a few hours. My students and I got in the night on mopeds and drove to the shopping center to buy perfume.

On the following day we staged the performance together. In this performance the artist makes reference to the weather phenomenon of monsoon rain which dominates the whole of Asia. The umbrella itself is fitted with microphones which amplify the sound. This surreal atmosphere is heightened by the fact that sod covers the floor that the artist walks upon.

It was unplanned. We were just experimenting. The experiment in Jatiwangi later transformed into a biannual festival. Nezaket was part of the beginning. At that time, she performed indoor, working with water, grasses and her own clothes. The objects were neatly arranged, and judging from the clothes which were hung on the ceiling, she had a fine taste. She then sprayed water on those clothes. The sound volume of water drops on her umbrella was enhanced. It was an artifisial rain. Apparently the sound of the rain could be composed. Ich lernte Nezaket Ekici in Indonesien kennen.

Dann spritzte sie Wasser auf die Kleidung. Meinsdorf The artist describes her experience during the tsunami on the Maldive Islands. The video consists of footage of the island of Dhigufinolhu which the artist filmed from all sides on the day before the tsunami. Next to these paradisical images the artist is seen with her eyes closed, recounting her horrifying experience, which stands in striking contrast to the quiet pictures of the island idyll.

Das Projekt sieht vor, dass jeder Kontinent mit einem Film dokumentiert wird. In interviews with the artist, they give personal accounts about the origin and character of the individual dishes. The artist combines these cooking scenes with local footage, providing a broader understanding of the people and how they live. The accompanying live performance is conceived in such a way that the artist can cook the respective meals with up to guests, in a room set up especially for that purpose, while projections of the films run in the background.

All five senses are catered to on these culinary evenings: sight, smell, hearing, taste and touch. The overall aim of the project is to make films documenting all of the continents. Nezaket Ekici is one of those artists with whom you cannot find a gap between the self and the art. She works, thinks and feels the artwork. Awake or asleep, she is constantly busy with it and living it. It is what creates her obsession to work, her wish to speak through performance and body. A very strong point of focus in many of her works is the idea of social issues.

I believe that the condition of being a Turkish girl living in Europe occupies a big space in her personal character. In the case of the work that she did in Brazil it was the main focus. On the day of the performance, we invited people as an audience, as she had asked us to do. The performance consisted in her instructing people plus staff on how to cook and eat certain Brazilian dishes! She made ceremonies for the cutting of vegetables and celebrations for the tasting of food.

It was a social banquet where taste and text were mixed between the information coming from the artist, the projected documentaries and the exchanges among the audience members, some of whom already knew each other and others who were meeting for the first time. Exchanging impressions, smells, kisses, cuts, tastes, sucks, licks, bites, talks, laughs, looks and good energy. Im Falle ihrer Inszenierung in Brasilien spielte dies eine zentrale Rolle.

Ein Zusammentreffen von Menschen, die einander bereits kannten oder einander zum ersten Mal trafen. The artist hangs upside down in the middle of the room, from a rope attached to the ceiling. She wears a chador which envelopes her, and she holds several pieces of paper in her hand. She reads the contents of these out loud with the help of a wireless microphone. The content is taken from newspaper articles, diaries and Koran passages, all characterizing the role of women in Islamic society. The artist approaches her physical limits in this performance, as evidenced by her increasing loss of voice as it progresses.

This not only necessitated negating the original separation of stage and audience spaces, but also presented the artist with the challenge of presenting herself and work, in the specific context of an art fair situation. During the performance Ekici reads and quotes various text passages, the thematic content of which deal with the image of the Islamic woman. The fact that head scarf debates were raging at the time, only served to augment the timeliness of the work.

The artist runs through Santa Monica, California for several hours with a camera strapped to her arm. With it, she films the surroundings, which are totally new to her. She is in front of the projections, running in place, with her back to the audience. Thus creating an irritating relationship between filmic space and the real space of the gallery, in which past and present become one.

The artist stands atop a number of pedestals spread out around the room, in rotation, while a background projection shows selected works from years of art history. Her off screen voice animates viewers to use their hands to position her into the poses of the projected paintings. The viewer thus takes on the role of sculptor by mimetically forming the model into the pose of the painting.

As an academic, I have never been very in tune with my body, which made the prospect of participating in a performance piece a terrifying and thrilling possibility. I met Nezaket at Macalester College in St. Paul, Minnesota, and participated in the first performance of Form It Able, with a handful of students and the artist herself. We entered rehearsals with Western notions of personal space and emerged through the performance as boundless works of art.

We were all transcendent that night, the other models, the audience, Nezaket and I, and our bodies became a public medium rather than a private possession. Barriers were broken as it dawned upon us that we had participated in something truly transformative, something none of us are apt to forget. Britta R. Ich lernte Ekici im Macalester College in St. Ekici ile St. Sie galt in den er Jahren als Inbegriff der Femme fatale. Der Betrachter wird mit zwei Welten konfrontiert, die jedoch miteinander korrespondieren.

Considered to be the embodiment of the femme fatale in the s, the dancer and actress is painted in a tight, red dress. In the performance, Ekici squirms and dances her way into a five meter long, red cloth tube with overly long arms. A background projection shows the artist in a snow covered Canadian landscape, wearing the same dress. The audience is thus confronted with two very different, yet corresponding worlds. When I met Nezaket she said she wanted a snowy Canadian landscape to make a video. I realized that the map of Canada is huge.

Instead we found a snowy field a 2-hour drive away. Nezaket was in stockings and a pair of heels. On the ground was a long red piece of fabric. She picked it up and started the slow journey into the fabric, struggling against its volume. Her head, arms and body disappeared slowly inch by inch until she stands balancing in the snow, her body encased in meters of shiny red fabric, gathered at her feet.

We see at last that somewhere at the end of this journey was a dress. Later in the gallery, Nezaket reenacts this video performance for the audience in front of the video. For the audience, the two images are a dialogue. Da realisierte ich, wie riesig Kanada eigentlich ist. Wer ist sie? Was ist das Andere? Wo ist das Selbst? In Istanbul suchte sie nach diesem Anderen und setzte es in einer Reihe von Performances um. Es gibt kein vorbereitetes Drehbuch, aber eine gut durchdachte Intention und Idee. Obwohl sie auch spontane und improvisierte Elemente enthalten kann, spiegelt das Wesen einer Performance doch eine konkrete Philosophie oder Botschaft wider.

Die Vielfalt an Formen und Inhalten einer Performance dient als Medium direkter Kommunikation, Einbeziehung und Wahrnehmung und diese haben wiederum grundlegenden Einfluss auf die Darstellung von Kunst. In der westlichen Kunst des Kaprow zu einem wichtigen Bestandteil. Fragen, zu psychosozialen Konsequenzen von Sprache oder zu individuelleren und subjektiveren Themen. Sie ist eine Art von sozialer Kritik, die ihr eigenes Ausdrucksmittel verwendet. Ekicis Botschaft ist ernst und Performances wie diese verlangen ihr physische und psychische Schmerzen ab.

Ihre Performance Mia vita mia amata weist ebenfalls einen gemeinschaftlichen Ansatz auf. Ekici arbeitet noch immer an dem Projekt. Ekici fordert die Vorurteile der deutschen Gesellschaft heraus, indem sie stereotype Standpunkte, Erscheinungsformen und Beurteilungen einsetzt.

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Ekici performt sowohl vor sehr anspruchsvollem Publikum, als auch vor unbefangenen Zuschauern. Hinter Ekicis Performance steht zwar eine intellektuelle Geschichte, trotzdem basiert ihre Inszenierung auf verbreitetem Wissen und deshalb kann sie auch von einem breiten Publikum leicht verstanden werden.

Eine weitere ihrer symbolischen Performances ist Defiant, bei der vom Betrachter erwartet wird, dass er alle Elemente der Inszenierung als Kunst ansieht. Ekici entwickelt jedoch ihren eigenen performativen Stil, vielleicht auch weil sie sich mit ihrer Ursprungskultur auseinandersetzen und ihre neue Kultur herausfordern konnte. Who Is She? What is the other? Where is the self? All of these questions, as well as the phrase itself, can be key to interpreting the performances of Nezaket Ekici.

Who is she? What I saw was the video performance Hullabelly for Turkish Women in which she and a number of Turkish ladies were hula-hooping.


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This collective performance was staged in Antalya with neighbors. However, the absurdity and outmoded practice of this once popular dance also corresponded to the ambiguous social standing of immigrant women within the complexity of German society. In the performance, Ekici humorously presents these women as a proxy for the female Turkish community in Berlin and as a stereotype of immigrants from Turkey by the German population in general. Her application for the scholarship represented a way for her to reclaim her origins in Turkey, where she wanted to gain access to the fast paced transformation process of the society and also to learn more about her native country.

I found that she was a willful, courageous, fearless, resilient, patient, ingenuous, naive and refined person. All of these attributes corresponded to the personalities that she assumed in her performances. Artists can. Performance art virtually provides absolute independence and freedom to the artist, on the other hand it is a direct confrontation with the viewer which demands a certain fearlessness from the artist.

These encounters evoke a transcendent relationship that must be endured by the artist and supported by the audience, regardless its level of art appreciation. Performance does not necessarily involve a traditional plot or narrative, however the traditional or the narrative may be embedded in the style or concept of it. A performance might be a series of subtle, sometimes risky gestures or actions which can last from a few minutes to many hours, and it can also be repeated.

There is no prepared script but there is a well planned intention and an idea. Performance art incorporates theater, dance, juggling and gymnastics but it is more than the sum of these; it is regarded as an art form which can be classified in modernist avantgarde terms, such as Dada, Surrealism, Conceptual Art and Fluxus. Within 20th century Western art, performance art activity can be traced back to Dada and its poetry performances. Post-modern theory however, acknowledged that performance art activity could not be confined to European art traditions, but belonged to all worldly traditions.

Modern and post-modern art in Turkey has no comparable history of performance. During the s performance art was more of a collective action practiced by dissident groups, than an individual presentation. The young generation of artists from that period of military despotism could only express criticism of their socio-political traumas through clandestine happenings and actions. For the last ten years performance has been practiced mostly by female artists, reflecting their social commitment and their resistance to the dictums of a patriarchal social system.

A great number of artists who produce video work use performance as the conceptual framework of their videos. In these, they convey their criticism and deliver messages on socio-political issues, on the psycho-social consequences of language, or on more individual and subjective themes.

Today, as everywhere, performance art in Turkey can be viewed in direct comparison with post-modern theater. It is a form of social critique that uses its own medium of expression. Performance art can come in the form of direct social activism camouflaged under the guise of entertainment, or it can appear in the form of a radical critical action which makes the public aware of forms of oppression as pertains to cultural identity, gender, class, and sexual orientation.

Performance art is a domain in which this passion for the real can be attained. Ekici is a performance artist who pushes the limits of her body and its actions, who incorporates herself into her work physically and spiritually. For her, bodily strains and mental pressures become a game or a plot, to be performed with style and vigour. In the piece she mows the lawn with her teeth, like a lawn mower, to the point that she suffocates and injures her lips and mouth, thus it is also an act of self-inflicted harm.

In Crema Cream, , one of the performances that she made in Istanbul, she stirs a bowl of cream with her right arm until she produces butter. While the act of stirring reflects endurance, force and will, her stature, pose and appearance radiates the aesthetic beauty of a living sculpture. In Fountain first version she wears a polyethylene dress made of a number of catheter bags, filled with water. The dress and her act of giving, directly recall the Aphrodite of Ephesus, the goddess of fertility and love.

This is also a collaborative performance like Schlaraffenland with Monochrome Apples Paradise with Monochrome Apples, in which she offers apples to passersby at a garden entrance. Again, she is dressed formally and elegantly, standing for hours in the middle of two thousand apples, all laid out like a floor painting, as she invites people to taste and eat her apples. Her performance Mia vita mia amata My Life, My Love, also has a collaborative character, in it she teaches Italian people Turkish words of love, simultaneously overcoming the complexity of translating intimate desires from one language to another.

Being a German citizen of Turkish origin, she is inspired and shaped by issues of identity. In the piece she traces the difficult path of language barriers and brings her sparse knowledge of Italian into play. One year later she performed the piece for a German audience. During her residency in Istanbul Berlin Senate Istanbul Scholarship, Ekici developed two new projects, without factoring in the socio-political differences to Germany. Germany is a true post-modern state, i. One of her projects was conceived for the Hagia Sophia, where she proposed that she would hang upside down in a white wedding dress and be swirled like a dervish in the central space of its architecture.

She is still working on the project. The other performance, National Anthems , also deals with the shifting meanings of language, identity, border and taboo. In the piece she creates a collage of the German and Turkish national anthems, singing the libretto of the Turkish anthem to the tune of the German. Even this example shows that hers is not a fixed identity, but one that consistently appears in reference to other cultures, mostly to her native culture which represents a touchy socio-political issue in Germany.

Here, performance becomes an effective way for her to inform and guide people toward the truth. Ekici has performed in front of sophisticated audiences as well as very naive ones. One of her most daring performances was staged in Sinop, a Black sea coastal town where a biennale entitled Sinopale has been taking place since In Sinop an unsuspecting public had to endure the performance Atropos, during which Ekici struggled to free the hundred knotted strands of her hair from threads fastened to the ceiling of the space.

The space itself had been a prison since the days of the Ottoman Empire and was abandoned in the mid s to comply with EU standards for human rights. Atropos is known as the goddess of fate, as a metaphor for womanhood and for the difficulty of regaining freedom lost. And although she may have been impersonating Atropos, one could also associate the persona with Medusa, the most ancient figure of tragedy and legend from the Black Sea. She had a similar encounter with an unsophisticated public when she performed Nazar in Istiklal Street in Istanbul.

Once again she was confronting Madonna was another provocative performance, one that she staged at the Siemens Art Gallery in Istanbul. The lighting of candles in churches is a favorite activity for a large portion of the Muslim women of Istanbul. It is a habit based in the historical multi-religious character of the city, therefore Madonna is not an alien concept.

Defiant is another one of her emblematic performances, one which expects the viewer to perceive that all of the elements of the performance are to be considered art. Her costume, a bright red dress with some toothpicks fixed to it, is a design piece in and of itself and the movements that she makes during the performance are metaphors for self-defense or defense, the overall impression of the work is sculptural.

Through her education in Germany, Nezaket Ekici has certainly been influenced by post-feminist thought and the performance practices of an older generation. However, she has developed her own performative style, perhaps because she has been able to deal with her native culture and to challenge her new one. Her work bears many responses to questions of how ethnic identity is represented in post-ethnic times and how performance artists can carry out social interventions and political activism while maintaining an air of poetry and aesthetics.

She has clear but multifarious strategies for these questions, mostly emanating from her heart and bosom, but always reflecting her fearless, liberated and compassionate mind. O Kimdir? Benlik nerededir? O kimdir? Self Pride aus der Werkserie Aveux non Avenus, Kunstfabrik am Flutgraben, Berlin , S. Ekici, unter: www.

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Einige meiner Performances sind physisch und psychisch sehr anspruchsvoll. So entsteht zuerst ein Bild in meinem Kopf, das ich dann umsetze. Aber das ist o. Ich lasse mich darauf ein, weil ich ein Bild verwirklichen will. Es ist ein Ausstellungsraum, den Ekici durch ihre Performance verwandelt. Damit werden wir als Publikum selbst zu einem Teil ihrer Arbeit. It applies itself to space like a hand to an instrument, and when we Auch in Auge um Auge arbeitet Ekici mit dem Publikum. In psychologischer Hinsicht existieren wir nur im Blick des Anderen. So findet die Abgrenzung des eigenen Selbst im Blickaustausch oder in der Abwendung des Blickes statt.

Damit erinnert sie an westliche Brunnenskulpturen und persifliert zugleich die damit verbundenen bildhauerischen Konventionen. Es ist eine bewusste Entscheidung, die darauf abhebt, die Konzentration ihres Publikums auf die Performance selbst zu lenken. So kommt hinter der einen Maske immer wieder nur eine neue zum Vorschein. Therefore questions of personal identity and a skepticism regarding the role models and conventions that define the female body, as well as subjecting it to ethnic and political restrictions, have been a central theme of her work since the beginning.

Out of her critical observations of complex societal correlations the artist develops concentrated images in video, installation and performance. Her own body is central to her work and represents a dynamic connection to the audience. Thus Ekici bases her work directly on concepts which were formulated by video and performance artists in the s. The traditional distance between work, artist and audience evaporated, and established ideas about the artistic subject, images of the body and the definition of the art work were fundamentally put into question for the first time. Ekici also subscribes to the idea of crossing physical, social and ethnic borders, which more often than not takes her to her own physical limits.

It is this conscious and extremely disciplined act that captivates and moves us at the sight of her performances. This tedious and often painful process of breaking up conventions is something that we feel as audience members. Some of my performances are physically and psychologically very demanding, this is due in part, to the fact that I think of my body as an instrument of expression. Another reason for this is that my performances and installations are based on an idea, rather than being a Therefore I initially have an image in my mind that I then create.

Only when I stage a work, do I become conscious of just how tedious a performance can be. Decorated with personal items furniture, photos, clothes it becomes a private space. The room is open to viewers during the few days that I do this. They have the chance to observe the process.

On the last day I do a special performance. The red lipstick prints are the traces of affection, possessiveness and love. Yet they are more than the expression of a passionate female body. In their abundance, they are also the marks of labor; artistic means employed with great effort, iron discipline and determination, demanding our respect and touching us.

Above all, the personal aspect affects us even more within the public context of the museum. Art becomes something that is physically tangible making us, the audience, part of the piece. It applies itself to space like a hand to an instrument, and when we wish to move about we do not move the body as we move an object.

For us the body is much more than an instrument or a means; it is our expression in the world, the visible form of our intentions. Catch a Turkish Kiss is also a performance in which the audience takes on the leading role. The artist presents herself in a ball gown, reclining on a chaise longue, in the entrance hall of the Museum May 25th, in Belgrade. She awaits the audience in the elegant pose of an exotic seductress, yet without being able to see anything herself, as she is wearing a sleep mask.

Self Pride from the series Aveux non Avenus, Kunstfabrik am Flutgraben Berlin , p. Yet in the moment that the viewer pursues this invitation the artist becomes unruly. The boundaries between her own body and that of the other is repeatedly explored, shifted and put to the test.

The object status implied by the artist in presenting herself as an available sexual object, flips in the moment that she refuses to follow her own stage instructions. At the same time, the image of femininity offered here is no longer available as an idealized image or a projection plane. Ekici also works with the audience in the piece Auge um Auge Eye for Eye, In this way she enters into a very intense contact with total strangers, one which can cross the borders of privacy, for the self and the other.

Psychologically, we only exist in the eyes of the other. Only in their eyes are we aware of ourselves, like in a mirror. At the same time, we can also exert control over the other in this situation. A demarcation of the self occurs in the exchange of eye contact or in its aversion.

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But the exchange between the artist and her audience also takes place on a physical level. Cameras are set up behind both participants, so that their eyes can be projected as oversized details onto two screens set up in the space. Beyond this loud heartbeats can be heard. Thus the scene is intensified in the confrontation between the gazing eyes, and between the projected gazes and the heartbeats.

In this intense concentration artist and audience form an integrated whole. This particular performance represents something special in that Ekici has staged it in different cultural contexts. Georgia, Spain and Turkey with varying results, heavily influenced by the openness or reservedness of the visitors in each location. It seems rather logical that questions of identity should be of particular interest to artists who have roots in two cultures, but this problem of identity has always been of major concern to artists.

However, since the Renaissance the image of man and the line of questioning pertaining to this image, has been constantly modified by societal changes as well as psychological, philosophical and psychoanalytical perceptions. The experience of the divided self and the possibilities of slipping into different identities was articulated to a large degree in art forms such as Body Art and Performance which were critical of representational conventions.

They take the inevitable interdependency of subject and body as a prerequisite for new artistic practices that have the potential to constantly shift attributes fixed to body and let them be viewed differently under permanently changing circumstances. Judith Butler states these connections more precisely when she emphasizes that through an ostensible confirmation of norms, namely the representation of the female body as the object of desire, its sexuality is so overstated that it falls into the realm of the absurd and thus subverts the convention of the female body as an object of the male gaze.

It is just the narcissistic character of the performing self in Body and Performance Art by female artists that in fact frees the body from the limitations of the patriarchal system of representation, connecting it to the contingent but active status of the woman artist. In Fountain the artist appears with red lips, and an almost transparent dress made out of 56 catheter bags filled with water, in which she can barely move. During the performance she stands on a plinth in high heeled shoes. Again and again, in adventurous contortions, she attempts to empty the bags into buckets standing around the pedestal, one after the Therewith she references Western fountain sculptures, while satirizing the related artistic conventions.

The photo features a shirtless Nauman spewing an arc of water. By drawing these references in her work, Ekici decisively adheres to representational critical concepts and further develops them through performance. As Ekici temporarily assumes a diversity of identities, dressed in a chador, a wedding dress or the power suit of a business woman, she slips into a diversity of roles, which she then undercuts in her performances. Her costumes seem to meet the societal status quo and those norms which make the feminine artistic subject the object of the male gaze.

In fact the costumes always prove to be a handicap during the performances, they are too tight, too heavy, too stiff and altogether impractical for a body in motion. Such is the case with the Fountain dress, the toothpick dress for Defiant , the glass bead dress for Nazar and the too tightly sewn wedding dress for the performance Inafferabile In this sense these performances often end up being a battle with the elements for Ekici. Words in which the artist presents herself in a chador. Costume is an integral part of her artistic program and even if she appears almost naked at times, she never is.

The range of costumes that she appears in demonstrates, not least of all, her desire to subvert cultural, religious and sexual fixations which are always body generated, by shifting or overplaying them. The covering of the body, enables the uncovering of a construction. So behind the one mask, appears always another.

Walker Art Center Minneapolis , p. Ekici: www. Performance Loop. Kultur Gescher e. Performance Installation Equipment: Stable, food, straw, barbed wire, costume, pig Duration: 1 to 2 h Photo edition My Pig diptych , Performance Installation Equipment: 1 balloons, amplifier, 4 boxes, headset, 4 microphones, costume Duration: 45'. Interactive Performance Installation Equipment: 9 white plastic baths, 9 white water jugs, 9 white carpets, 9 white lab coats, 9 models and the artist, 4 spot lights, water Duration: 30'. Performance Installation Equipment: kilo pork, wireless microphone, amplifier, gloves, blindfold, white cube Duration: 45'.

Nezaket Ekici, exh. Kunstfabrik am Flutgraben, Berlin Goethe Institut, Athens Coup de Ville. The Bucks allow points per game to their opponents which ranks them 11th in the league. Phillips told The Star that the experience had taken a mental toll on him. We greatly value input from our team members and have made significant changes based on their feedback, including enhancing benefits, adding paid holidays and expanding restricted stock awards to all eligible team members, they said.

They have an average scoring differential of -5 in their past 3 contests and at home this season they have a difference of 5 points per game. Norris was very good in his debut but not last time out as he was knocked around for five runs and nine hits over 3 innings by the Red Sox.