Epitelesis invites...Performance Art Foundation Athens, organised, curated and initiated by PASHIAS
October 10 and October 16, 2014 - Art Wall/Project Space, Athens
In dialogue with this assumption, the presupposed blankness (the shape of paper tubes) here encounters visual experiences and an associative, audible position of paper noise, voice and pre-recorded word sounds. Invisibly the white paper role becomes the carrier of sound.
Interview excerpts: Dagmar I. Glausnitzer-Smith and Eleni Zymaraki Tzortzi, Athens October 4, 2014
In the process of idea development, sometimes titles announce to the world that something is about to happen. In the investment of extreme personal energy and concentration, the titles gain complexity of thought associations as well as enhancing the probability of guidance through the found object and the found thought in the everyday environment. Sometimes titles gain their meaning to me in the after effect of the presentation or through the faithful continuation of handling the materials until they have been exhausted. The title is a reference beyond explanation.
“Paper Walks, Paper Talks, No 4”
The idea behind using the white paper refers to the assumption that a human being is born, symbolically understood, as an unwritten, white canvas, as the ‘Tabular Rasa’. It denotes the absence of innate ideas (the blank slate). The term is used as the name of an epistemological theory that individuals are born without built-in mental content and that all of their knowledge comes from experience and perception. Further in my Performance Actions “Paper Walks, Paper Talks, No1 - No 4” paper has a connotation of ‘skin’.
In computer science, tabula rasa refers to the development of autonomous agents with a mechanism to reason and planning towards their goal, but has no "built-in- knowledge-base” of their environment.
Thus they truly are like blank slate, a tablet with writing erased.
The sound source is suggesting the influence in the fetal stage of personal development. The content of recorded voices heard from the tape recorder, reflect a personal and political dilemma of experiences and their memory of it. The voices sound like a murmur not to be understood and are perceivable only in rhythm of the voices passionate tonalities.
Agrostology is a branch in botanic research which investigates the kind of bent grasses, a group of 100 different types of long grass. Long stem-like grass , old fishing net and bark was used to produce paper in 105 AD during the Quin Dynasty in China.
In the action “Agrostis Roles” the blank paper from the series of Live Performances – Paper Walks, Paper Talks - has been intentionally penetrated and distracted.
Conventionally paper is used for writing and drawing, and utilised for wrapping. It is a surface for the collection of information and its distribution. The blank paper is a gathering field. Paper holds the desire for permanence and yet the attachment is futile on paper.
On white paper liquids from Life merge with the liquids of Chance.
At first I see each work to be separate and distinct. Then I realise each work is a fragment part of a complex, speculated larger image. The owner of this unknown mental representation can only be me, slowly discovering each particle in the course of my artistic life. There is no intention to conceive the larger image but the anticipation for its existence.
Less can be said before the work is completed.
2nd Cyprus International Performance Art Festival 2014, organised and initiated by Christina Georgiou
‘mowing’: the concept has moving and walking at its core and its physical engagement has its common denominator in drawing a line. The action of mowing relates to a metaphor: sharpening nature’s hair.
The specificity which lurk beyond the meaning of the materials used in all three Performance Actions follow a non-linear perspective, they remain and escape public intimacy. Though they will not solely by-pass the meaning of ‘priority line’ in Nicosia, their references hesitate between ideas of ‘inside’ and ‘outside’, visibility and disguise, complexities and their conventional definitive parts. Information is in this case not verifiable in the process because of the unexpected emptiness and absence of written image.
International Performance Art Weekend
at Cell63 Project for Month of Performance Art Berlin Mai, 2014, MPA - B
organisation and curation Luisa Catucci and Dagmar I. Glausnitzer-Smith
“Quer Feld Beet” – Paper Talks, Paper Walks No.3 – Performance Art Collaboration, Eru and Seven of Eglise at Cell63 during MPA - B (Dagmar I. Glausnitzer-Smith and Alexander Rues)