atelier:performance #19 - Mélanie Peduzzi & Małgorzata Rabczuk

Saturday 06th of July - 3pm
 

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ABOUT THE ARTISTS & THEIR PROJECT

Mélanie Peduzzi (*1989) is a Belgian artist, graduated from ENSAV La Cambre, who works between writing, performance and photography. She develops protocols that question the imposed norms and the power of representation in contemporary society through actions and images based mainly on her own body. 

Małgorzata Rabczuk (*1991) is an artist (DNSEP Art HEAR, Strasbourg 2017) of Polish origin who is particularly interested in the utopias of collective life, bio-centrism, utopias of tenderness, take care and the DIY. Her work is transdisciplinary, she uses video, performance and photography and also develops a practice of director of photography especially for author films. 

These two artists have affinities on their work themes, in the use of self-fiction and the recorded image as well as through the strong involvement of the body in their practices. They are aware that the experience and representation of bodies involve political and moral issues that are related to contexts and times. Sex - Love - Norm - Mental Health - Capitalism - neo-liberalism - new technologies. The invitation to participate together in the 'Queer Art Festival Session of Tenderness 9.12 - 23.12.2019' in Brussels is an opportunity for them to conduct research and start a creation over 6 months including the residence in Hannover which is the first phase.

From the meeting of their practices, will emerge a film of anticipation that will be inserted under the skin of the artists during a performance. The intention is to counteract the fact of making the bodies more efficient, the idea is rather to question how the new technologies impact our intimacy, how the body is an object of political control and to charge the body with a poetic layer. The film (the micro-series) will consist of 12 episodes, each recorded in a sterilized NFC chip. Filming will be done during the residency in Hanover. The artists deliver stories of lived experiences transformed into the speculative narration, they create a world based on memories embedded in their bodies and give rise to worlds as utopian as dystopian. The micro-series will have two main characters (performers). In terms of image, the accumulation of these stories will interact with a very marked visual universe. Artists use the cinematographic aspect of the image to translate/increase the emotional content of the actions that take place on the screen. A projection of filmed sequences and/or participatory filming will be proposed at the end of the week of residence.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

Chaire FUTURE

Work in process by Mélanie Peduzzi & Małgorzata Rabczuk

Residency at Studio: Ilka Theurich - project space, Hannover GERMANY, July 2019

Dear future. It is a project anticipating the future. The future of the future will still contain the past. We are making a film in 12 episodes that will be recorded on NFC implant chips and implanted in our bodies. We will have trouble thinking about utopia and writing will not be easy. We will implant a chip here to discuss certain standards. To not be effective and to be reflect when we will act or speak of the world. Nearly 60% of the human body will consist of water and the body will be overall sensation. Faucault said the body was the opposite of utopia because it is unchangeably physically with us. Then he said he was wrong.

You are now a part of the shooting. We invite you to participate in a future that might seems already familiar. We invite you to participate in the future meal composed of three dishes : eggs (scene 1), milk (scene 2) and a vegan desert (scene 3). You can give us money at the end (scene 4). We will friendly introduce you to every action but be aware, we are continuously shooting. In front of the entrance door you have some grey hair-gel and white mask if you prefer to remain anonymous. Otherwise welcome and let’s continue to the first scene.

Scene 1 / maternity

When I will be 23 my mother seemed to forget to give me an egg. Eggs will stay on the same ends. Soon children will be delivered on eggs. White eggs. A little bit bigger than those from chickens. To avoid confusion. Religion won’t have power any more on that question. Neither the feminism. Women will be sterilized so that those who are not sufficiently calibrated to be mothers do not risk it. Anyway, these women are unable to keep a father. It will be necessary to let them believe that it is better for them to maintain their peculiarity and not to be burdened with a child. They will be reminded of the discourse of modernity and the freedom of control of their own body. Backfire. Thus, they will not generate beings who could take a critical look at the world. Each egg will be entrusted to a well selected woman. The one to which we will have implanted the good chip. Never mind which one you will be in the future, take an egg and eat it fried with us.

Scene 2 / gendered territories

With the passage of time, in deep deep waters, we learnt to piss just to feel the presence of the other. Precarious flows of heat. An ocean of ambivalence and uncertainty. Will you be able to differentiate these flows? Or the gesture the stream, the image, repeatable, will dissolve the difference? Will you be able to know if the piss you feel on you, if it is precious or repellent? The territory will be marked by precarious flows of heat. To dissolve in the memory of the water. The water will keep impressions of the heat, even if the heat will no longer be there. Body burnt in lack of territory. Is it the fear that will make you swim in the cold cold water? He will cum on me after every sex. He will hang the camera and photograph his spilled part of body on mine. I will take the camera and photograph myself but I will never have pissed standing. Take a sip and take place in the territory of my body.

 

Scene 3 / sacred bodies

Heavy will turn into light, light will turn into heavy. Solid into liquid, liquid into solid. Hardware into software, software into hardware. Soon I will not be afraid of other bodies. I will bite them a little to assume the flesh. We will eat the fruits of the earth, we will disguise for this great feast in our best outfits. The political outfits of our political bodies to return all to eat from the same watermelon. A bee will fall in love with me. It will bite me slightly left buttock, then offer me a little honey on its sting. Love will multiply and diversify and we will escape fear. The fruit will not be individual, we will all eat from the same watermelon. I will be one of the others, we will never be the same but we will all have access to the same fruit. Without excess, with the right measure. The loves will be fulfilled. You could love me without wanting to fuck me. Because the body will not be only sexual. It will not be fantasized. Fantasies once satisfied, no longer exist. Our bodies will not dematerialize any more. We will have eaten your holiness and the love will has exceeded the interdicts. Come, I'll give you fruit, take a piece of it.

Scene 4 / prostitution

I will know many sex workers well. I will take the car. It will go fast. Much faster than my senses and my unreason. Tomorrow morning I will go back, behind the dune, prostitute myself for the status of artist. Pipe or love billed to my client through a company that turns my benefits into salary. The company in common. Precariousness of my conceptual project and disturbed looks. Yes it will shock people but I could really give my ass away. I contributed I am an artist. I performed I am an artist. I wrote well, I'm an artist. Schools producing species that will no longer criticize the capital that emanates from its production, nor the exploitation of its thirsty pulpit. My vagina was moulded. Copper pieces were poured into a sculpture. There will be no more money. We will have melted everything. Please don't hesitate to give some money during all the performance. For the food and for the print of my vagina.

  

ÜBER DIE KÜNSTLERINNEN & IHR PROJEKT

Mélanie Peduzzi (*1989) ist eine belgische Künstlerin. Sie studierte Bildende Kunst an der ENSAV La Cambre in Brüssel und ihr Œuvre verbindet das Schreiben, mit der Performance und Fotografie. Sie entwickelt Konzepte, welche die uns auferlegten körperlichen Normen und Repräsentationskräfte in der heutigen Gesellschaft durch Handlungen und Bilder hinterfragen. Video by Mélanie Peduzzi (youtube)

Małgorzata Rabczuk (*1991) ist eine polnische Künstlerin, die ihr Diplom 2017 an der Haute école des arts du Rhin Mulhouse in Strasbourg absolvierte. Sie erforscht in ihren Arbeiten besonders die Utopien des kollektiven Lebens, Biozentrismus, Utopien der Zärtlichkeit, Fürsorge und das Heimwerken. Auch ihr Œuvre ist transdisziplinär. Sie verbindet Videokunst, Performance, Fotografie und entwickelte eine eigene Praxis des Regieführens für Fotografie und Autorenfilme.

Diese beiden Künstlerinnen haben eine Affinität zu ihren Arbeitsthemen, zur Untersuchung von Selbstfindung und dem aufgenommenen Bild, sowie zur starken Einbeziehung des Körpers in ihre künstlerische Praxis. Sie sind sich bewusst, dass die Erfahrung und Repräsentation von Körpern politische und moralische Probleme mit sich bringt, die mit Kontexten und Zeiten zusammenhängen. Sex - Liebe - Norm - Psychische Gesundheit - Kapitalismus - Neoliberalismus - Neue Technologien. Die Einladung zur gemeinsamen Teilnahme an der "Queer Art Festival Session of Tenderness 9.12 - 23.12.2019" in Brüssel ist eine Gelegenheit für sie, eine Recherche durchzuführen und eine neue Arbeit über 6 Monate enwickeln zu können. Einschließlich der Artist Residenz im Studio: Ilka Theurich in Hannover, welche die erste Phase darstellt.

Aus der gemeinsamen Arbeit und dem Aufeinandertreffen ihrer ihrer künstlerischen Praktiken wird ein Film der Erwartungen hervorgehen, der während einer Live Performance unter die Haut der Künstler gelegt wird. Die Absicht ist es, der Tatsache entgegenzuwirken, dass die Körper effizienter werden. Die Idee ist vielmehr, zu hinterfragen, wie sich die neuen Technologien auf unsere Intimität auswirken, ob und wie der Körper ein Gegenstand politischer Kontrolle ist, und den Körper mit einem poetischen Überzug zu beladen. Der Film (die Mikroserie) besteht aus 12 Folgen, die jeweils auf einem sterilisierten NCF-Chip aufgezeichnet werden. Die Dreharbeiten werden während des Aufenthalts in Hannover durchgeführt. Die Künstler erzählen Geschichten von Erlebnissen, die in spekulative Erzählungen umgewandelt werden. Sie wollen eine Welt erschaffen, die auf Erinnerungen basiert, die in ihren Körpern verankert sind, und lassen dabei neue Welten entstehen, die utopisch wie dystopisch sind. Die Mikro-Serie wird zwei Hauptfiguren (Performerinnen) haben. Im Hinblick auf das Bild wird die Anhäufung dieser Geschichten mit einem sehr ausgeprägten visuellen Universum interagieren. Die Künstlerinnen nutzen den kinematografischen Aspekt des Bildes, um den emotionalen Inhalt der Aktionen, welche auf der Leinwand stattfinden, zu übersetzen / zu steigern.