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?"$#6 25 @!"#$%& 2014 Hold Flowers Not Flags *53H+(4, 5+(µ+2%, ."=*6 '!"=))6)! #64 '!"3)!*64 2564 µ!"#$%& [#&/!&#!µ#] March 25th 2013-14, Independence Day, Athens, Greece - You are walking against the course of the independence day parade. People are all holding flags and chanting. You are holding flowers. * Hold Flowers, not Flags. Flags divide us. Each of us holds a flag that a small portion of people relates to and cares about. People rival one another as to whose flag is the best, the proudest, the most brave, the strongest, the worthiest of surviving. Why can we not all just live? People kill themselves in the name of their flags, surrendering their own moral judgment to the control of others. Allowing someone else (a president, a general of the army, those owning the weapon industry) to judge that it is now fitting you to hold a gun in your hand and kill someone, who - if you had been born elsewhere - could have been your best friend, your college roommate, your sister's best friend or your lover. You so easily give up your privilege to be human, trade it in, to become something barely human, while others, who have been unjustly damned to sub-human, try and reach this level you so easily trade in for easy power. Hold Flowers, not Flags. My flag means nothing to you. Before you met me you might not have even known what my flag looked like. If you hadn't met me, perhaps, you never would have learned what my flag looked like. If you hadn't met me perhaps you never would have even wondered what my flag looks like. Does it really matter that you know what my flag looks like now? When you see my flag does it excite and overwhelm you? Does it make you shiver? Does it make you cry and yearn for something better when you see it wave in the olympic games, or world cup? Hold Flowers, not Flags. When you think of me, what do you think about? What comes to mind? When you imagine me doing something in my daily life, am I wearing a flag? My flag? Do I smell like greek food in the taverna down the street? Do I have the acropolis on all of my t-shirts? Hold Flowers, not Flags

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The union you feel with those you share your flag with is fake. It is an illusion. It is a means to make you fear others, to fear those who also have a flag, but with other colors and patterns than yours. Having flags is a way to see the world in "us" and "them", and until this stops, you will be the widower of many brothers and sisters. Your brother may not be the actual brother whose life is sacrificed, but it will be your friend's brother, or your friend's friend's sister. Or your lover's brother or sister. Flags, national anthems, national parades, geographical borders, world cups, contests and competitions. Until you stop accepting all the elements that separate us into "us" and "them" it is your compliance and blind acceptance which has signed and agreed to this world of hates, violences, genocides, murders and injustices. We are all responsible. Independence day is not real, because we are not independent. We are governed by people who see the world in "us" and "them", and who wish for us to continue to see in these terms as well.

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Hold Flowers, not Flags. You gently nuzzle your nose in the bouquet I am holding. Breathe in and breathe out. Things feel slower allofasuddenand you can - - - hear clearness replace the noisy city traffic. You feel the softness of spring, the hope of rebirth and the promise of something you yearn for but can't explain. Something is not quite right, and yet your finger is constantly missing the spot. You can rest your face in the embrace of new-born plant, taking in the sweet smells you have been offered. The flowers smell peaceful. Hold Flowers, Not Flags. Your true desire is to keep your head in the flowers for a long time. You have never been given the option to, and why not try? You want to stick your head in a tree and take it all in, for once. Feel what its like to be a treehead. You’re always expected to “let it out”. Expected to think of OUTPUT, and you are realizing how little INPUT there is; how little time we give to stop and really notice things, to think and question things like flowers, flags, parades! HOLD FLOWERS NOT FLAGS As long as we hold flags we will be destined to a life of murdering one another. We will be eternally unsatisfied that we do not have a more meaningful life, because our definition of life is based on violence and violation. Flags are symbols, zones of comfort, to nest and muzzle in so we have a "proper sounding" excuse to not look at what scares us and what may be different. THEY are different - just LOOK at their FLAG! You do not realize though that they have been taught that YOUR FLAG is just as strange to them and just as worthy of destroying. You do not see that to jointly unite and burn your flags together will mean you can both live together, ceasing to wonder which one will kill the other first. Do not burn the real differences, though. Come together to share them, to exchange, to listen to one another. Do not be afraid. What’s all the fighting about? Is the killing worth it? Why? Let's both put our heads in the flowers together. At the same time. Let's smell, inhale, and then exhale together. What could happen if we all do this at the same time? For 10 whole minutes? An hour? We could even hold hands when we did it (no maybe that is too corny; or maybe not. Last night in bed at 3AM, all you wanted was for someone to hold your hand, and theirs, and then whentheclockstruck 4AM, you graabedheld your own hand and cried. “I have learned about Western Civilization. Do you know what the message of Western Civilization is? I am alone.”, said Eileen.You have tried flags for years now and it is not helping. You are still holding your own hand. Let's give something else a chance. What if we all people came together to share one flag, or didn’t need a flag at all, to unite and truly come together. No flags to fight under anymore.

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@(! <(2#+%+;5!#=*#!*6 ;(! #%2 +µ:,)(% B4 !'%*(B'6µ326 (*#%"(58 µ28µ6 5!( B4 µ+-%.+&µ326 .!µ15)+(%4 *'=-6. U8H+(4 !'1 #! G+5+µ<"(!2= #%& 44 µ!0$ µ+ #! ;+;%21#! #64 2964 E%&2$%& 2011 5!#= #6 .(!"5+(! #64 H8:(*64 µ+*%'"1-+*µ%&, *#% D,2#!;µ!, *#! $.(! *6µ+$!, *#%&4 $.(%&4 ."1µ%&4. S( 2+5"%$ #%& 44, %( 32%')%( #B2 "G+5+µ<"(!272", #! +'+(*1.(! 5!( 6 =;"(!, !'=2-"B'6 5!#!*#%)8 .(!.6)B#72 !'1 #! @9? *#% /B"% #64 ')!#+$!4 D&2#=;µ!#%4 5!( #%&4 ;,"B ."%µ%&4, *&2-3#%2#!( µ!0$ B4 &'+2-,µ(*6 #%& */+.12 !'!;%"+&µ32%&, !'%*(B'6µ32%& 5!( '!"!'%(6µ32%& ;+;%21#%4 +214 +µ:&)$%& '%& !51µ! !(B"+$#!( B4 +"7#6*6 /B"$4 !'=2#6*6.

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0';5!5 R!*$)64 D'&"1'%&)%4, R!*$)64 F!/2%&.=564

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G+2 !"/$*!µ+ 5!)= 5!( #! '!"=;B;! !&#72 +$2!( +A$*%& *5="#! 5!( :-!"µ32!. Oµ! µ+ :&)=5(0+4 -!'/! /"12% ;(! µ32! 5!( ;(! 1)%&4 #%&* =))%&4 '%& !')= .+2 &'="/%&2. D8µ+"! <;85! 3AB,*'=2(! 6 2,/#! *#! '+0%."1µ(! 5!( #! %&")(!/#= #B2 8/B2 2! :%&*572%&2 #62 =*:!)#%. ?1*% #!("(!*#8 !"7*#(! %,#+ '!"!;;+)$! 2! #62 35!2!. O2-"B'%( ;)&*#"%,2 5!( 5!µ72%2#!( !2!(*-6*$+4, µ3*! +5+$ '%& )=µ'%&2 #! :!2#=*µ!#! *!2 53"(2+4 5%,5)+4. G+2 !"/$*!µ+ 5!)= µ%& A!2='+4 5!( ;B .+2 -&µ1µ%&2 '(! #62 !"/8 #B2 '"!;µ=#B2 . D&;5)%2(*#$56 6 !µ26*$!. D#!µ=#6*+4 ;(! )$;! )+'#=.L!( µ+#= !23<65+4 <(!*#(5= *#6 <3*'! 5!( /=-65+4 *#62 2,/#! /B"$4 :7#!…

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#+</9µ5)5 #.-6.1!5 &';5!52 F=2%4 @(/+)84 UEPS 9LS@9 U$;% !51µ!, 2! *5!":!)7*%&µ+ *#! 5%:#+"= <"=/(! #64 2%6µ%*,264 µ!4. U$;% !51µ!, 2! .7*%&µ+ ;"%-(= *+ 1)%&4 #%&4 .&2=*#+4, '%& µ!4 5)3<%&2 #%2 8)(% !'1 #! µ=#(!. U$;% !51µ!, ;(! 2! &'="/%&µ+ '=2B !'1 #! -!)=**(! #%& #!A(5%, µ!4 !;72!. U$;% !51µ!, 2! .7*%&µ+ #! 1')! #64 H&/84 µ!4 ;(! #62 µ=/6 #64 +'(<$B*64. U$;% !51µ!, 2! )(7*%&µ+ #62 !)&*$.! #%& µ&!)%, µ!4 '%& µ!4 5)+$2+( #% ."1µ% ;(! #62 =2%(A6. U$;% !51µ!, 2! &H7*%&µ+ #6 :B28 µ!4 '=2B !'1 #! *')=/2! µ!4, *+ !&#%,4 '%& µ!4 *5%#72%&2, ;(! 2! '="%&µ+ '$*B #6 /!µ326 µ!4 !A(%'"3'+(!. U$;% !51µ!, 2! !5%)%&-8*%&µ+ #! /2="(!, #B2 '2+&µ!#(572 µ!4 '"%;12B2, '%& !;B2$*#65!2 /B"$4 (.(%#3)+(!. U$;% !51µ!, ;(! 2! 0%,µ+ !))6)3;;&!, µ3*! !'1 #! µ+#3B"! 5,##!"= µ!4, /B"$4 ;6#+&#34, ;(! µ(! 5%(2B2$! +)+,-+"6.

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Peace Process #20 Performance, Diana Sabri + @!"$! D#+:!2$.6

>2*Bµ!#72%2#!4 5!( 5!#!.+(52,%2#!4 #62 5%&"!*#(58 .(!.(5!*$! +214 ;"!:+(%5"!#(5%, :!,)%& 5,5)%&, 6 *&;5+5"(µ326 '+":1"µ!24 +'!2+A+#=0+( µ$! !'1 #(4 ')3%2 !µ:()+;1µ+2+4 *&µ:B2$+4 +("8264 *#62 *,;/"%26 '%)(#(58 (*#%"$!. D&µ')6"72%2#!( 20 /"12(! !'1 #62 *&µ:B2$! #%& V*)%, '%& %)%5)8"B*+ #62 +("62+&#(58 .(!.(5!*$! µ+#!A, E*"!8) 5!( PLO. @'%"+$ µ(! #3#%(! *&µ:B2$! 2! +'(#+&/-+$ µ+#!A, 5!#!5#6#8 5!( 5!#!5#6µ32%&; @+#!A, 5!#!'(+*#8 5!( 5!#!'(+*µ32%&;

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Embodying the tiresome procedure of a bureaucratically vicious cycle, this performance/installation re-examines one of the most controversial peace agreements in our contemporary political history. 20 years have passed since the Oslo accord that completed the peace process between Israel and the PLO. Can such an agreement ever be achievable between the occupier and the occupied? Between the oppressor and the oppressed?

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Yioukali = BC-)'&'2, performance, Bodarch (concept), U(=22! P(!22!5%,, @=;.! L"&*#!))(2%,, F3#"%4 F3#"%&, D#3))! M!#06'!2!;(7#%&

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F!"!*5+&8 28 @!"#$%& 2014

>nosia, Z1.5 D3)#,#!52 E&! L%)(%'!2#%&, D#+:!2%4 M!2.+)64, G8µ6#"! L!#*!%&26. live set by Vago Tedosio, 35#!5#6 *&µµ+#%/6 92#B264 R!-&4, Elderdiery Fadul, :B#(*µ%( R!;;+)64 D!;"64 :B#%;"!:(58 5=)&H6 G6µ8#"64 ?"(!2#!:,))%&, EB F!'!.%'%,)%&, @=2%4 @'%&".!564, D#!µ!#(! D."!)6, D#+))! E;;)+0%&, D#"=#64 D#!µ!#!5%4 *&2#%2(*µ%4, EB!2264 F"B#%2%#!"(%4

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ZB26 @+#!<!*64 @(! 5"(#(56 #%& *Bµ!#%4. ?% *Bµ! B4 5!#!*5+&6, B4 !2!µ26*6, %(5+(% *Bµ!, +µ:&)% *Bµ!, !:&)% *Bµ!, !2!#%µ$!..L+2%. 92#(5+(µ+2!-U+(#%&";(+4 '%& !:82%&2 #! *6µ=.(! #%&4 µ3*B #64 !2=)B*64 #64 ,)64. 92#(5+(µ+2!,*Bµ! ;&µ2%,B4 )+&5%4 5!µ<!4 '"%<%)64 6 &(%-+#6*64 #!&#%#6#B2. >(5!*#(5% !'%#&'Bµ! #64 +'(#+)+*64. ?% *Bµ! '+"(')!2+(#!( µ+*! *#% /B"%. ?% *Bµ! '%& +/%&µ+,#% *Bµ! '%& µ!4 )+('+(..92#(5+(µ+2! 5!( &'%5+(µ+2! .(!/+%2#!( µ+#!A& #%&4 µ+*! *+ µ(! /B"%/"%2(56 *562%;"!:(!. S#!2 5!#!";6-+( 6 %'#(56, -! +(µ!( *#62 !2#('+"! %/-6 #64 0B64. @+ #% /"Bµ! .(!#6"%&µ+ #62 !2#()6H6 #64 /"%2(5%#6#!4. S ')6"64 !'%/"Bµ!#(*µ%4 !265+(*#62 +'(5"!#+(! #%& -!2!#%&. >'+A+";!0%µ!( #% *&µ')+;µ! )%;(5%& 5!( #&/!(%&.. ?% 5%5%"!5( 0+(.!

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D=<<!#% 29 @!"#$%& 2014

TRACES III / EMPROS Vago Tedosio K 1µ%":6 :-%"= *#%&4 #%$/%&4 5!( #% *!2$.( #%& >@FTSD ."! *!2 !5!#3";!*#6 .,2!µ6 *#! *7µ!#! /%"+&#72 5!( '+":1"µ+". 9&#%$ !2#(-."%,2 !2#)72#!4 5$26*6 !'1 #62 +23";+(! 5!( (*#%"$! '%& 5",<+#!( *#(4 .%5(µ!*µ32+4 +'(:=2+(+4 #%& /7"%&. S /"12%4 ;$2+#!( -(!*="/64 5!( +µ+$4 -(!*7#+4, +27 '"B#!;B2(*#84 +$2!( #% $.(% #% -3!#"% #% %'%$% µ3*! !'1 #6 #+/2(58 #B2 92(/2+,*+B2 (Tracing) !'%5#= /%"%;"!:(58 5$26*6 5!( +(5!*#(58 ;+Bµ+#"$!. @3*! *#6 ."!µ!#%&";(58 "%8 (flux) '%& .6µ(%&";+$#!(, #! *7µ!#! )+(#%&";%,2 !"/(5= !'%5+2#"B#(5= µ+#!.$.%2#!4 *#%2 '+"(<=))%2#= /7"% #62 +23";+(! #B2 .%µ72 #%& 5#("$%&, 5!( #+)(5= *&;5+2#"B#(5= 1#!2 /%"+&#34 5!( 5%(21 µ!0$ !5(26#%'%(%,2#!( *#!.(!5= 5!( ;$2%2#!( !;=)µ!#!.. µ(5"= 5#$*µ!#! µ3*! *+ 32! µ+;!),#+"% 5#$*µ!. D+ !&#8 #62 (.+%)%;(58 '"%35#!*6, D7µ! +$2!( % /7"%4 #%& >@FTSD 5!( F%)(#(58 6 5!#=)6H8 #%&. @$! 5!#=)6H6 !µ:$."%µ6, ;(!#$ % /7"%4 !&#14 '%& 5"!#=µ+ 5"!#=+( 5=#( 5!( !'1 +µ=4. !


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"The enemy is advancing in silence. Let's get ready first then", O 3@<9/2 &9'@19-3% !%1&5(- #2 3)'%µ#!)'Cµ3 &9")'%, performance-+;5!#=*#!*6 '$*B !'1 #! 5!-$*µ!#! #%& >µ'"14, 9)$56 L"(5$.6, Christl Mudrak

?% 3";% #B2 9)$56 L"(5$.6 5!( Christl Mudrak .6µ(%,";6*+ 32#%26 !2#('!"=-+*6 5!-74 6 ."=*6 #%&4 -! 8#!2 2! <=H%&2 #% /7"% #%& -+=#"%& )+&51 (*5628 – ')!#+$!). S( +";!*$+4 -! ;$2%#!2 5!#! #6 .(="5+(! =))B2 ."7µ+2B2 5!( µ+ #6 *&µµ+#%/8 1*B2 +'(-&µ%,*!2. F%))%$ !'1 #%&4 *&µµ+#3/%2#+4 #%& *7µ& '&( 8"3(/('> (!2=µ+*= #%&4 5!( *&µµ+#3/%2#+4 *#62 !2%(/#8 *&23)+&*6 *#% +µ'"14) ;(! .(=:%"%&4 )1;%&4 -+B"8*!µ+ 1#( #% 2! <!:#+$ 1)% #% +*B#+"(51 #%& -+=#"%& )+&51 8#!2 µ(! <$!(6 +'3µ<!*6 *#% /7"%. K '"=A6 !&#8 -! 5!#!";%,*+ #! $/26 '%& &'="/%&2 '=2B *#% µ!,"% 5!( '%& 3/%&2 .6µ(%&";6-+$ !'1 #(4 '%))34 5!( .(!:%"+#(534 ."=*+(4 '%& 3/%&2 *&µ<+$ *#% -3!#"%. K '!#$2! #%& /"12%& -+B"%,µ+ 1#( +$2!( '%),#(µ6 5!( !51µ6 5!( 2! A!2!<!:1#!2 µ!,"% .+2 -! 8#!2

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#% $.(%. 92 ;(21#!2 #% <=H(µ% !&#1, -! 5!#!";%,*+ 32! +$.%&4 *&))%;(584 µ28µ64 *#% /7"%. ?62 '+"$%.% !&#8 1'%& '%))= (*#%"(5= 5%µµ=#(! #64 '1)64 <=))%2#!( ('./. #! '"%*&;(5= #64 9)+A=2."!4, !))= 5!( #% $.(% #% +µ'"14 !'1 #% ?9EF>G) µ+ 5$2.&2% 2! *<6*#+$ 6 (*#%"$! '%& :3"2%&2 5!( 6 *6µ!*$! #64 µ28µ64 !&#84, -+B"8*!µ+ *6µ!2#(51 2! :&)!/-+$ #% 5%µµ=#( !&#1 #%& +µ'"14 '%& - '3"! !'1 #62 (*#%"$! '%& :3"2+(, +$2!( 5!( µ3"%4 #%& /!"!5#8"! #%& /7"%& 5!( #64 0B84 '%& &'="/+( *+ !&#1. >$µ!*#+ *+ .(=)%;% µ+ #% '!"+)-12 5!( '"%*-3#%&µ+ *+ !&#1 #% .(=)%;% *#% '!"12 5!( *#% µ3))%2 µ!4. F!"=))6)! 6 /+("%2%µ$! !&#8 .6µ(%&";%,*+ +"B#8µ!#! ;(! #% #( *6µ!$2+( «*&µµ+#%/(514 /7"%4» 5!( «*&µµ+#%/(514 */+.(!*µ14» 1#!2 µ(! /+("%2%µ$! !2#(5"%,+#!( µ+ =))+4 ."=*+(4 *#%2 /7"% '%& +$2!( *+ .(=)%;% µ+ #62 '"%!2!:+"1µ+26 '!#$2!, #%2 /!"!5#8"!, #62 !$*-6*6 µ28µ64 5#). @+ !&#1 #%2 #"1'% 8#!2 µ(! +'3µ<!*6 '%& .+2 )!µ<!2+ &'’ 1H6 #(4 !2=;5+4 #B2 =))B2 ."7µ+2B2 *#% /7"% 5!-74 .+2 8#!2 *+ .(=)%;% µ!0$ #%&4. @$! '"%*3;;(*6 sitespecific *&06#8*!µ+ 1#( .+2 +$2!( µ12% 32!4 /7"%4 5!( #! !(*-6#(5= /!"!5#6"(*#(5=, !))= %( =2-"B'%( '%& 0%&2 5!( ."!*#6"(%&'%(%,2#!( *+ !&#1. >$2!( 5!( 6 0B8 5!( %( +(4 <=-%&4 /"12%& */3*+(4 '%& .6µ(%&";%,2#!( 5!( &'="/%&2 +5+$. >'$*64 -+B"8*!µ+ 1#( 32!4 #3#%(%4 µ+#!*/6µ!#(*µ14 *#% /7"% /"+(!01#!2 2! 3/+( #62 3;5"(*6 #64 *&23)+&*64, !:%, µ+#3#"+'+ µ+ 32!2 '(% µ12(µ% #"1'% 32!2 /7"% 5%(21 *#% +µ'"14. K '"1#!*8 µ!4 8#!2 6 ."!*6 2! ;(2+( +:8µ+"6 µ+ )+&5= /!"#(=, /!"#%#!(234 8 5(µB)$+4, '"1#!*6 #62 %'%$! .+2 .3/#65!2 %( .,% +(5!*#(5%$. ?(4 .,% '"7#+4 6µ3"+4 3<!H!2 µ+"%4 #%& #%$/%& )+&51. ?% ;+;%214 .6µ(%,";6*+ 32#%26 !2#('!"=-+*6 µ+ =))%&4/!))+4 ."72#+4 *#% *7µ& '&( 8"3(/('>. J#*( µ+#= !'% +2#%2+4 *&06#8*+(4 5!( !2#('!"!-3*+(4 +;5!#3)+(H!2 #% -3!#"%. F!"= #% ;+;%214 1#( .+2 %)%5)6"7-65+ 6 ."=*6 5!( .6µ(%&";8-65!2 !&#34 %( 32#%2+4 !2#('!"!-3*+(4, % .(=)%;%4 #%& .6µ(%&";8-65+ :3"2+( *#62 +'(:=2+(! '%))= +"B#8µ!#! =A(! 5!( *6µ!2#(5= '"%4 *&08#6*6 *+ 32!2 /7"% 1'B4 #% +µ'"14, *!2 /7"%4 35:"!*64, !))= '!"=))6)! B4 /7"%4 *&µµ+#%/(514, '%& '"%*'!-+$ 2! .6µ(%&";+$ *'$-+4 '+("!µ!#(*µ%,, 2! :B)(=0+( !$*-6µ! +)+&-+"$!4 (.+72 5!( ."=*+B2.

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L='%(! !'1 #! +"B#8µ!#! '%& *&06#8-65!2 µ+ !:%"µ8 !&#82 #62 '"1#!*6 ."=*64 "

F%, A+5(2= 5!( '%, #+)+(72+( 6 +)+&-+"$! 35:"!*64 *+ 32!2 /7"% 1'B4 #% +µ'"14; ?( *&µ<!$2+( 1#!2 !2#(5"%,%2#!( !'1H+(4 5!( '"!5#(534; FB4 µ'%"%,2 2! *&2&'="/%&2 !2#$-+#+4 !(*-6#(534 !'1H+(4 (5!( !2=)%;+4 ."=*+(4) *+ 32! *&µµ+#%/(51 /7"%; M"+(=0+#!( 2! )8A+( *+ !2!/7"6*6 µ$!4 ='%H64; FB4 µ'%"+$ 2! .6µ(%&";6-+$ 5%(214 #1'%4 ;(! 5%(28 ."=*6;

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?% +µ'"14 '"%*'!-+$ 2! )+(#%&";+$ µ+ +:8µ+"+4 '!"+µ<=*+(4 - #( *&µ<!$2+( 1#( µ$! ."=*6 '"%#+$2+( 5=#( µ6-+:8µ+"%;

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F%(! 6 *6µ!*$! #64 µ28µ64 !'%#&'Bµ326 *+ 32!2 *&))%;(51-5%(21 /7"%;

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G(!:%"+#(534 '!"!.1*+(4 5!( (*#%"$+4 !(*-6#(584: 9'1 “traditional black box theater” *+ «white cube gallery»; ?$ *6µ!$2+( «A+'+"!*µ326 !(*-6#(58» *8µ+"!; ?% +µ'"14 B4 &<"(.(514 /7"%4 :3"2+( '%))34 “'!"!.1*+(4” ('!"!.1*+(4 !'1 #62 #!&#1#6#= #%& B4 -3!#"% 5!( 5!))(#+/2(514 /7"%4, B4 5%(2B2(514 /7"%4, B4 5!#=)6H6, B4 !&#%.(!/+("(01µ+2%4 /7"%4). FB4 µ'%"%,2 2! *&06#6-%,2 !&#34 %( '%))!')34 5!( *&µ')6"Bµ!#(534 «'!"!.1*+(4»; F%(+4 !'1 !&#34 2(7-%&µ+ +5:"=0%&2 #(4 !2=;5+4 µ!4 *8µ+"! 5!( '%(+4 1/(;

L)+$2%2#!4, '!"= #% -+B"6#(51 8 µ6 -+B"6#(51“+2.(!:3"%2” '%& µ'%"+$ 2! 3/+( µ$! /+("%2%µ$! “site-specific” '%& '"%5,'#+( *+ 32!2 *&;5+5"(µ32% /7"%(/"12%), !A$0+( 2! !2!"B#6-+$ 5!2+$4 ;(! #% “'%(%4”, “'1#+”, “'B4”, “'%,” 5!( “;(!#$”. P(!#$ 5!( ;(! '%(%&4 3/+( 216µ! 5!( *6µ!*$! 6 5=-+ site-specific /+("%2%µ$!; Site-specific .+2 +$2!( µ12% % /7"%4, !))= 5!( % /"12%4 +5+$, %( */3*+(4 5!( .&2!µ(534 '%& &'="/%&2 +5+$, %( .(!:%"+#(534 +'(-&µ$+4 5!( !2=;5+4.

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The dick riders Performance Didi M. Fadul

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L&"(!58 30 @!"#$%& 2014

E"!’ µ'+ )' @79% !'+ >";!*#8"(% +)+,-+"64 35:"!*64 5!( .6µ(%&";(584 +'(5%(2B2$!4, >µH&/7#"(!: M!"= 9)+A=56

F"15+(#!( ;(! 32! #!A$.(, µ(! +5."%µ8 .6µ(%&";(584 *&2,'!"A64, 32! '!(/2$.(, /B"$4 !'%5)+(*µ%,4, *#6 .(="5+(! #%& %'%$%& %( *&µµ+#3/%2#+4 .%5(µ=0%&2 #62 !2=;56 #%&4 2! '!$A%&2, 2! '+("!µ!#(*#%,2, 2! %2+("+&#%,2, 2! 2%(7*%&2 #62 +*B#+"(58 5!( +AB#+"(58 µ%&*(58 #B2 *Bµ=#B2 5!( 2! #62 +5:"=*%&2 µ+ #% .(51 #%&4 #"1'%. V#!2 %( =2-"B'%( !2%$;%2#!(, 3#*(, #! #+/26#= *,2%"!/!;5&)7*+(4, '%& #%&4 /B"$0%&2, ;5"+µ$0%2#!( *! /="#(2%( ',";%(! ?!A(.+,%&2 +)+,-+"! ."1µ%&4 '%(6#(5%,4, ."1µ%&4 5!".(=4, .(5%,4 #%&4 ."1µ%&4. S 51*µ%4, '%& /#$0%&2, µ!0$, #%&4 &'+"<!$2+(, !))=0+(, 5!( #1#+ 1)! +$2!( .&2!#=... 9'!"!$#6#6 '"%W'1-+*6 6 .(=-+*8 #%&4 2! #!A(.3H%&2, ;(! )$;%, 5='%& !))%,, 5='%& 1'%& #% '!(/2$.( +'(#"3'+#!(, µ+ +2.&µ!*$! '%& .(+&5%),2+( #62 +)+&-+"$! 5$26*64 8 !5(26*$!4, *! 2! 8#!2 *#% *'$#( #%&4 5!(, #!&#1/"%2!, !


µ!5"(= !'X !&#1. P(!#$, «K '%$6*6 +$2!( *!2 32! +$.%4 *5!*(!"/+$%&, *!2 32! 12+("% µ3*! *#% 12+("% #64 0B84, 32! !;"(%)%,)%&.% '%& :,#"B*+ !2=µ+*! *#% *#="(», 1'B4 *6µ+(72+( µ(! =;2B*#6 '!(.!;B;14. «K µ+;!)%*,26 #%& !2-"7'%& -! #%2 %.6;+$ '=2#! 2! !2!.6µ(%&";+$ #6 0B8 #%&, 2! !2!.6µ(%&";+$ !&#1 '%& #%& 3/+( .%-+$, 2! ')=-+( !&#1 '%& &:$*#!#!(. @3*B #64 +";!*$!4 '"%+5#+$2+( #6 :&*(58 #%& ,'!"A6. @3*B #64 +'(*#8µ64 !2!.6µ(%&";+$ #% *,µ'!2 .(! µ3*%& *&µ<1)B2. @3*B #64 #3/264, !2!.6µ(%&";+$ #6 *&µµ!/$! !2=µ+*! *#% *7µ! #%& 5!( #62 H&/8 #%&». WEIL, S. (1952: 157), Gravity and Grace. London: Routiledge & Kegan Paul >µH&/7#"(!: M!"= 9)+A=56 - ."!µ!#%'!(.!;B;14

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!"#$ % &%' ()*+,%-. .(*/0 +12, 3&)/. -1#µ4 +12, 5"/$6....Theo Delidis, 2013-4 21- 87. Arthur Lipsett. 1963. G(')8 '"%<%)8 '+("!µ!#(5%, :()µ *#62 %'%$! % Theo Delidis '"%<=))+( µ(! #!2$! .(58 #%& µ!0$ µ+ µ(! #!(2$! =))%& *562%-3#6. !

Cosmogony and rhythm. L%*µ%;%2$! 5!( "&-µ14.

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G+&#3"! 31 @!"#$%& 2014

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Displacement. Script. >5#%'(*Âľ14. D+2="(%. Tine Tvegard, Eva la Cour 92=;2B*6 Diana Sabri, F3#"%4 F3#"%&

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[excerpt/!'1*'!*µ!]

Displacement To be read/played slowly and with breaks between all lines.

Two characters standing next to each other. Their shoulders slightly touch. You can hear their breath in different rhythms at first. After some minutes their breath gradually becomes synchronous. X clears her throat as if she wants to say something. But then she hesitates. E holds her breath until she can’t hold it anymore and ends up sighing. Y: The first day is sunny. It is not really warm, but I feel the sunshine on my skin, because I do not wear a jacket. X: The souvenir shops emit an atmosphere of emptiness. As if time was frozen. (sighing) And this reminds me of something. Y: The streets are empty. Only the souvenir shops are open and full of stuff. Small museums and collections of icons and 3D-printed replicas in rows and columns, one after another. X looks around at the audience. Slowly and without smiling. She looks them in their eyes. X: Any suggestions that push this in an interesting direction? Y: I pass the green trees full of tangerines and wonder if they are eatable. Nobody seems to collect them. There are tangerines on the ground all over. X: I pass the trees and recognize the smell of herbs and gasoline. Then I lock myself in. There are no windows in the first room, but there is a TV in the corner. Y: When I arrive at the apartment the lock is broken. A woman explains that there has been a burglary and she gives me two new keys for two new locks on the door of the apartment. X: I am lying in the bed on my back, pulling the blanket off because of the heat. I can’t stand the sound of the fan in the room, so I sleep naked. Y: I am lying in the bed on my back, pulling up an extra blanket because of the cold. It is quiet.

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One of the two characters standing next to each other takes a step forward and turns 90 degrees to the left. The other character places herself in a position where their shoulders slightly touch. You can hear their breath in different rhythms at first. After some minutes their breath gradually becomes synchronous. X: The streets are loaded with emptiness. Is this because of Easter? Y: I guess the Acropolis is the most important site of Greece. X: I guess it is depression. Y: I am walking. Cars and motorcycles pass by, while I pass empty buildings and sleeping dogs. X: And I am thinking about the relation between experience and projection. Y: This brings me far away from the city centre. X: I am walking and the buildings emit an atmosphere of emptiness. Y: I am thinking about our relationship. X: â&#x20AC;&#x2DC;Athens city centre is a magical place full of contrasts - waiting for you to discoverâ&#x20AC;&#x2122;, I read on a billboard somewhere. Y: After walking down the road for hours, I find myself in Pireaus, full of people, smog, and words written in Greek. X: In Piraeus I get lost. I try to find the place you told me about. I am lost, both when it comes to the relationship with her and the situation we have put ourselves in. The restaurant we visited is one of many. They all seemed empty.

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Liquidations.I3+!)'&'%*!3%2. F"%<%)8 R$2#+%. 2010. T7µ6, C%3µ<"(%4 2010. Istituto Latino Americano di Roma. 0'93;#. <$2#+% !'1 performance *#% E*#%"(51 L32#"% #64 T7µ64 '%& 5!#3)6A+ *#% >2+/&"%.!2+(*#8"(% #%& L"=#%&4 (Monte di Pietà), @!$"6 Y&;%,"6

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J&%839µ;8#/Epidermis F"%<%)8 R$2#+% C!#!)$! T%&µ+)(7#6, Katarina Poliacikova

E'(.+"µ$.! J/+(4 5%(#=A+( '%#3 #% .3"µ! *%&, 8 5='%(%& =))%&, *+ !'1*#!*6 µ(5"1#+"6 !'1 #% µ85%4 #64 '!)=µ64 *%&; 92 '"%*'!-8*+(4, µ=))%2 .+2 -! #! 5!#!:3"+(4, 5!-74 ;$2+#!( 1)% 5!( '(% .,*5%)% 2! #% .+$4 '"!;µ!#(5= µ+ ;&µ21 µ=#( *+ µ(! #3#%(! !'1*#!*6 !2!'2%84. K 1"!*6 µ!4 .+2 µ=4 +'(#"3'+( 2! .(+(*.,*%&µ+ *#62 $.(! #62 +'(:=2+(! #%& *7µ!#14 µ!4. F!"!.1AB4, 1*% '(% 5%2#= '"%*'!-%,µ+ 2! 5%(#=A%&µ+, #1*% )(;1#+"! µ'%"%,µ+ 2! .%,µ+. @'%"%,µ+ 2! +5-3*%&µ+ #62 +'(.+"µ$.! µ!4, *#% :!51 #64 :B#%;"!:(584 µ6/!284. ?% -3!µ! +$2!( *&2!"'!*#(51 A!:2(5= +$µ!*#+ *+ -3*6 2! .%,µ+ 5=-+ µ(5"%*5%'(58 )+'#%µ3"+(! #"$/!4 5!( '1"B2, *!2 *+ ='+("% #%'$%. 9))=, #$ '"!;µ!#(5= !2#()!µ<=2%µ!*#+ µ3*B !&#84 #64 %'#(584 '+"(8;6*64; >.7 3"/+#!( 32! =))% '!"=.%A%: 1*% '+"(**1#+"+4 )+'#%µ3"+(+4 +$µ!*#+ *+ -3*6 2! .%,µ+, #1*% )(;1#+"% *&2+(.6#%'%(%,µ+ 'B4 .(!:3"%&µ+ !'1 #%2 .(')!21 µ!4. ?% 1"(% #%& *7µ!#%4, '%& &'%.6)72+#!( !'1 #% .3"µ!, +A!:!2$0+#!(. N!#!)$! T%&µ+)(7#6 µ+ #62 Katarina Poliacikova, @="#(%4 2014

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Epidermis Have you ever seen the skin of yours or of somebody else from a distance shorter than the length of your palm? If you try, you will probably fail,as is getting impossible to really see it with a naked eye in such a close distance. Our sight doesnâ&#x20AC;&#x2122;t allow us to inspect the very surface of our own body. Paradoxically, the closer we try to look, the less we are able to see. We can expose our epidermis to the lens of a camera. Itâ&#x20AC;&#x2122;s a fascinating view; suddenly we are able to see every tiny hair and pore in an infinite landscape. But, what do we really perceive through this detached perspective? Here comes another paradox: the more details we are able to see, the less we differ from the person next to us. The body's boundary, signified by the skin, disappears. Natalia Roumelioti with Katarina Poliacikova, March 2014

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THE BED OF 1,000 TIMES. [?S LT>RR9?E ?ZC 1000 ISTZC] video and text. F"%<)8 <$2#+% 5!( 5+$Âľ+2%. Ayden Grout

I wake the kids up. I walk them to school. I help the youngest carry his things. I get the groceries for the week. I buy four kinds of milk. I get home and put the food away in the fridge. I start the laundry. I make the bed. I make dinner for them. I make the kids lunches for school tomorrow. I put the plates in the dishwasher. I wash the pots and pans by hand. I help the kids take a bath. I read the kids a story. I check on them as they fall asleep. I put the dishes away. I go to the bodega and get him some of those electronic cigarettes. I lock the door and go home. I make this bed. I make their bed. I shake the sheets. I wash the sheets. I fold the sheets, and put them in the plastic bin under the bed. I make the bed. I make the bed where they lay. I make the bed where they sleep. I make the bed where they have sex, or used to. I make the bed where they let the kids sleep in on Friday nights. I make the bed where they are having small wars. I make the bed where he imagines fucking me.

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On Sunday he told me, ‘I’ve taken your clothes off 1,000 times.’ They are just words, !


On Sunday he told me, ‘I’ve taken your clothes off 1,000 times.’ They are just words, not actions, but when he shares this it is intoxicating, because he is taking me with his words, right then and there. And now the words are mine too, in my head, over and over and over and over and over and over. I am an infatuation for him. Thank God he didn’t say the three pivotal words. ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ ‘I’ve taken your clothes off 1,000 times.’ This bed shares a wall with the kids’ bedroom. The mother of his children sleeps on the left side. I make this bed without ceremony. I make this bed because it is my job.

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?"$#6 1 9'"()$%& 2014

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Ludic Fragrance This is the reason I don’t masturbate. Because every time I do, YOU come to mind. Yes, you. And my body quivers and quakes with repressed muscle twitches and whole body aches. And when I reach that climax, my eyes flood with tears, oh how I frickin’ cry. Why? Where do the tears come from? A flash of you in my mind beckons me and motivates me to keep searching, to break all social accords and conventional rules, to cheat, manipulate, seduce, just to possibly get a chance at finding that sensation when my body and your body reach a state where neither of us is thinking but where we simply ARE BEING. A spiritual place, an aleph, the place where all originated, perhaps. I can’t believe that oxitocin and contracting muscles can make me see the Matrix’s last human refuge of Zion. Come, white rabbit, come. This place I find at the climax of my masturbatory fantasies leads me to a fictitious place where I can feel every intersection of my being. Who are you? Night phantom with your ludic fragrance. I used to dream of you, the Don Juan of my fantasies, and glean the inner-makings of sadomasochism. Me, crinoline lace canopy bed of purity. You, sweaty hard demanding specimen of hormones draining into my blood stream, making me see for the first time what it feels like to have someone truly attentive to my eroticism. Tingling intuition in my center. Lavender scent on the tip of my finger. Bond and wild, hair free. Buzzing drunk in a flush of ecstatic neurotransmitters. The feeling of life brought on by the highest pursuit of oneself and one’s art, YOU, my lark song. Who are you? Where will I find you? Certainly not here, basked in the comfortable conformity of structured monogamous convention. Where are you? There it is, on my knees with your being in my being and your extremities engulfing me completely. And only do I catch a glimpse of that inexplicable nirvana when I masturbate. God damn YOU. I climax and there’s that surge, that assuredness that with you, whoever you are, I can finally surrender to utmost abandon, the true loss of my ego to pure delicious id. Grinding me into mind-numbing, neurosis-breaking fervor. Let’s make sure that we cannot feel where this moment began and where rhythm originated. Hearts beating, synchronicity. Hormones surging, chemistry. Bodies dancing, biorhythmicity. I’ve been searching for this locked-in, synced-up rhythm since my first imprint. The place where rhythm originated. But YOU, you wouldn’t leave me here to write feverishly in my diary after orgasm. No. You’d make me reach harder, search freakishly farther towards my own inner perversion. Braid tugged back, eyes blindfolded, rosy red skin, hard contours, and pulsating grasps. Because only YOU know what I don’t know I want. It comes from your fine-tuned corporal communication, from all those years of observing me within the rhythmic clacking of other women’s high-heeled shoes, all the nights touching yourself with the vague imagery of my cells, nothing but a hallucinatory reverie of the witch that could possess you, all those brightly lit highways as you sang the words to my melody. I was in every. one. of those moments, silently preparing you for the actual moment you’d meet me. No, not your soul mate cause that never really existed anyway, now did it. No, more of the force that will compel you to be pure energy. And now, you can bet that this feeling I’m about to give you is going to fucking blow your mind. -Katísima

Sex Visions, 0B;"!:(58, Zanzibar Dior

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