The Box was opened, the fog disappeared. Alienation of the stone.

2009

performed at Kaskaden Kondensator, Basel 2009                                                           Photo: Boris Nieslony

like the performance “The dog barked at the back yard, the eagle flew after the dark ,and I………. “ , "When the box was opened, the fog disappeared. Alienation of the stone" performance is also one of a series of my study of what I called as “performance poetry”. Performance poetry is an approach as the reverse of the dematerialization of subject matter into text. The performance poetry, in my term is creating a set of actions, using body and materials and therefore enters the immediate text perception buildings of the recipients. The performance actions create the poetry situation, which actively involve the audience’s personal interpretation. Different than the approach I used in my other works, in performance poetry as the method of creating the performance art work, I provide a kind of line that serve a clear textual line. I call the public here as the active participatory perceiver.
As the performer myself, I am also part of the process of building the text. Here I become both the active participant as well as the guide.

“When the box was opened, the fog disappeared. Alienation of the stone “ itself was meant to be repeated in different situation. By using the similar main materials I provided different kind of guidelines to activate the public participatory in building their poetry in their minds.

In the "When the box was opened, the fog disappeared. Alienation of the stone", I was interested to investigate documentations of wars on media and television. I was not specifically interested on the war as the main subject matters, but the moving images. The segments of images were always vulnerable to me. I saw many shocking pictures from the victims of bombings, the eyes of the children refugees, the dust, the blood, the guns, the damage, and many other pictures that could create emotional abrupt.
Images were not censored and they were giving forces to human receptions and emotion and therefore expect and create reactions, responds, opinions, and decisions. No matter what the political message was behind, the transportation of the situations through the media was not avoidable.
The unconscious receptions and juxtaposes are absorbed and influencing me censoring capability.
In this piece, I try to collect those images I have received and images I experienced. I connect those images with wordless language by exposing the emotional state through the presence of actions and objects related.
Duration: 30 minutes

Preparation time included technical preparation, sound and light check: 3 hours
Materials:
30 wooden sticks, black painted,
6 small rolls of red isolation tape, ca 16 mm width 5 – 10 meters each
1 liter bottle of water
a cup full of red color pigment
a table, size ca: 70 cm width x 200 cm length x 70 cm height
a white table cloth that covers the ´whole table (to be thorn)
1 roll of aluminum foil
1 pillow with white cover, size 50x50 cm
1 scissors, small and 1 roll cotton tread

Performed at:

“East West Project” at Kaskaden Kondensator Basel, Switzerland (2009)

“East West Project – via Belfast” at Platformart, Belfast, Northern Ireland (2009)

“Kunstbanken” at Kunsthalle, Hamar, Norway (2009)

“European Performance Art Festival (EPAF)”, Center for Contemporary Arts, Warsaw, Poland (2009)

“Asiatopia 11th – international Performance Art Festival, at the Bangkok Art and Culture Center, Bangkok, Thailand (2009)

"undisclosed territory#4" At padepokan Lemah Putih Solo Indonesia (2010)

performed at Kaskaden Kondensator, Basel 2009                                                           Photo: Boris Nieslony

performed at Padepokan Lemah Putih Solo, Indonesia                         Photo: Afrizal Malna

                                         performed at Center for Contemporary Arts, Warsaw, Poland , 2009                 Photo: Marta B

The Objects of the performance: