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Fortune PRESS RELEASE

FOR IMMEDIATE RELEASE

Jatun Risba’s actio ‘Fortune’ enriches the gaming exhibition ICE London 2019. The work raises the question: “Can we devise and play games where all are winners?”

 

EXCEL LONDON, UK, – February 5,6 & 7, 2019 –

At the exhibition ICE London 2019, the world’s largest gathering of Gaming professionals, Jatun Risba will hunt and share a fortune with a durational art piece that stops time.

The artist Jatun Risba will perform ‘Fortune’ every day starting 11:00 and continuing until the public closure of the show (at 18:00 on Tue/Wed and at 16:00 on Thu). The total duration of the work, divided into the three days of gaming exhibition, will amount to 19 hours of performance.

Jatun Risba will wear a gold full-body catsuit and will carry a black travel case in the hands. The costume and the physical actions will capture visitors’ attention. After identifying “the right spot”, Jatun Risba will collapse onto the floor, open the travel case over the head and wash the face off under a stream of casino chips. The artist will then remain lying still on the floor, immobile, like a showpiece for the rest of day.

ABOUT THE WORK

In the work ‘Fortune’ Jatun Risba ponders – : “What is a fortune? Your thinking-body is gold, yet you take it for granted or overidentify with it. Attachment to external goods causes a loss of sight and balance. How can you cultivate a fortune within? What is the path to your treasure house of infinity?”

The work stages an opposition between the material appeal of (shiny, vertical and tactile) casino currency and the detached anonymity of money. Both currencies have no intrinsic value in themselves, yet have a tremendous impact on our lives. The actio ‘Fortune’ explores how we can embody, create and share a fortune in healthy and responsible ways?

 

ABOUT THE ARTIST

Jatun Risba is a London based Slovenian artist who has extensively exhibited, lectured and performed internationally: in Slovenia, Italy, France, Bulgaria, Spain, USA, Mexico; ‘Fortune’ is the first work presented in United Kingdom. Jatun Risba uses the pronoun “ki” which acknowledges and honours the beingness of all (living) matter. More information about Risba’s work can be found at www.artsofself.com.

 

CONTACT INFORMATION

Telephone/WhatsApp: +386-51-776-933 (Jatun Risba)
Email Address: jatun.risba@gmail.com

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Looking Back to See the Future

Activities in UK

In November 2018 Jatun Risba moved to London and started a self-directed research residency at Live Arts Development Agency – LADA about the use, role and technique of Trance in Contemporary Live Arts, as well as a Diploma course in hypnotherapy with Dr. John Butler at the HTI. Hypnotherapy Training International.

Activities in Italy

In February 2019 the work Not an Adolescent Girl will be part of the art exhibition Stand for Girls, curated by Elisabetta Longari, at Fabbrica del Vapore, Milano. In July and August 2019, Risba will be an Artist in Residence at the STEAM Atelier in Lecce for a field research about taranta and the production of a new performance-based intermedia work ‘Heallo’. Jatun Risba was invited to participate at the Artperformingfestival, curated by Gianni Nappa, that will be held at PAN Palazzo delle Arti Napoli between the 20th of July and the 2nd of August 2019.

Activities in France

Jatun will return to Strasbourg, France in March to give a performative lecture at the University of Fine Arts about trance and to lead a workshop of Interesse dance.

Activities in Slovenia

In November 2019, the work ‘Heallo’ will be launched at the 20th edition of the Festival of Contemporary Art Practices PIXXELPOINT 2019, curated by Peter Purg, in Nova Gorica.

 

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Not an Adolescent Girl

Vivid eyes in a place
                          space

 

                          wide open …

 

A new Arts of Self work by Jatun Risba that nurtures and nourishes the spirits of oppressed adolescent girls beyond past and present. The first presentation of the project will occur at LaDIY*fest in Strasbourg, France as follows:

 

+ PRESENTATION (art installation)  When :  30th of August from 7 pm  Where : 1 rue Mercière

+ WORKSHOP  When : 31st of August  from 6 pm > 7.30 pm Where : 1 rue Mercière

+ PERFORMANCE (live actio) When : 1st of September from 7pm Where : 10 amant-e-s d’Or

 

The aim of the workshop is to collectively address the demons of adolescence − powers, energies, social constructs and behavioral patterns − we were subjected to in our puberty. After an open dialogue about our teenage experiences, the participants will go through the process of Feeding your demons, developed by Lama Tsultrim Allione, in order to embody, feed and free the manifested energies.

 

The live actio will be streamed on the project’s fb page. Like the page to easily follow the updates of the project. 

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Jaz kot prevara (The I as scam)

If you are familiar with Slovene language, you can take a read of the article Jaz kot prevara (The I as scam) written by Blaž Lukan about Jatun Risba’s performance Exercises in Dying . The piece was published in Revija Dialogi (3/4, 2017):

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Ecstasy of death

October 27th 2017, Dika Gallery, Kamnik

Ecstasy of death is a suggestive miniature by Jatun Risba and Miša Gams. The performance enacts language patterns, customs, rituals, sentiments and beliefs concerning death and the process of dying in the Slovene ethnic territory. In order to be seen, heard, felt by the spectators. In order to be remembered, acknowledged, reflected upon and updated.

The project was organized in partnership with the local art community of Kamnik, a medieval and Baroque city in the lap of the mountains, and performed in close proximity to the Day of Remembrance on November 1st. Before 1991, in the time of the Socialist Republic of Slovenia (in ex-Yugoslavia), the feast was named “dan mrtvih”, the Day of the Dead. On this day locals pay respects to the deceased by visiting the cemetery where they light candles and bring flowers to the graves.

Below you can watch a short trailer of the work.  More photos by Janez Zalaznik and a critical review (in Slovene) of the event are available here.

 

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MRI MS_upside down

RAMPA + Zavod Kersnikova / Jatun Risba: MRI MS_upside down

//participatory performance, 25.4.17 at 19:00

 

 

The project ‘MRI MS’ of performance artist Jatun Risba draws on her lived experience. It’s a story about her détour of multiple sclerosis. With the embodiment of intermediate states of consciousness, Jatun Risba is exploring the transindividuality (Simondon), elusiveness and plasticity of the self. Each ‘MRI MS’ performance is based on the use of a particular body or interface technology by means of which the artist highlights and maps the processes of psychic and collective individuation in the inner landscape. Her performative language Inter-esse (Latin for “to be in-between”; also “be beyond self”), discloses the thinking body in its liminality: breath, movements, voice and contact in the functioning of the autonomic nervous system, or at the level of the limbic system. This is the phylogenetically older part of the brains that is responsible for some vegetative functions, emotional reactions, learning and memory and for the release of endorphins, the endogenous opiates. In this liminal state of consciousness the performer establishes a dialogue with the chosen technology.

 

In the participatory performance ‘MRI MS_upside down’ the doers will be testing the mediating effect of perception altering on the awareness and use of the body. What happens when my vision is flipped upside down? What or who has been inverted? What occurs when I inhabit the gap between what I see and what (I think) I am? Stay there and then took a step backwards. And then another and then another …

 

You can follow the project on the Fb page MRI MS. My Regular Imagination of Multiple Self, where the performance will be live streamed and available for commenting.

Fb event page: https://www.facebook.com/events/116842152200264/

 

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MRI MS_allone

Cirkulacija2 + RAMPA / Jatun Risba: MRI MS_allone

// performance at the opening of the exhibition Alessandro Di Giampietro: LIMBICO. Whatever you think I am That is what I’m not, Cirkulacija 2, 20.4.17 at 20:30

Alessandro’s art work springs from the observation of human identity and focuses on the multilayered personae in contemporary society. His photography, video installations and performances mix up conventional narrative forms and abolish the walls between reality and fiction. In the context of eclectic, humorous and seemingly fleeting expressions, he creates bizarre and mysterious settings in which reality becomes uncertain and fantasy blends with reality.

At the opening of the exhibition, Jatun Risba will perform in co. with Mamourou Sanou themergingoftimeandspaceAfricaandEuropeancientandimmediatepresencEeecstaticdanceinpeaceinstillness

 

 

Fb event: https://www.facebook.com/events/116485265565248/

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Evaluation of the research performance “Exercises in Dying”

What was the performance »Exercises in Dying«?

A tentative of freeing from the known through the washing away of the old (unacknowledged feelings, unprocessed experiences, accustomed approaches and techniques) that had anchored and limited me. The aim was to create the circumstances that stimulate the bringing forth of the New.

A research about the limbic state of consciousness and its manifestation in physical, vocal and thought actions (performative actions determined by clear intentions) and their development during a lengthy performance.

What happened during the performance?

– THE INTERPLAY BETWEEN VOICE AND MOVEMENTS

Contrary to the performative modus operandi I am familiar to (Inter-esse, where a meditative state of mind is transferred into movements, which affect the breathing and stimulate spontaneous vocalizations; the thinking body operates in unison), I decided to try a new approach and do what I don’t know how to do. After all this was the purpose of the research.

I chose to base my actions on the Watching exercise of the Workcenter of Jerzy Grotowski and Thomas Richards in which the performer minimizes the sounds of breathing and the noise of movements during a harsh physical workout. This approach differs profoundly from the previously described Inter-esse technique that uses breathing and vocalizations as energy supplies and stimuli for movements. As a consequence, the first hour of each of the four cycles, which was devoted to physical actions, was executed with an attention for sound reduction. The experiment didn’t work as the artificially imposed separation between the movements and the sounds of the body didn’t prepare and hit up my voice properly.

The voice is at the moment my weakest medium of expression and needs special care in order to operate well as I haven’t been cultivating it until very recently. I am training my body daily since April 2015 and I’ve achieved fabulous results in a short time thanks to a regular practice of Grotowski’s Physical Training. I introduced a regular voicework in my training schedule only in December 2016 and have already achieved the first notable improvements. In the last vocal training before the performance I easily reached the state in which my voice resonated fully and achieved a vibration that was able to touch things. My training warm-up consisted of a 20 min singing session while running in a Watching-like manner (the arms are dropped and the steps are light) in a hall that was twice as big as the performance space.

– SKELETONS FROM THE CLOSET TOOK OVER

My skeletons from the closet (past selfs with nasty baggage) have appeared during the performance and took control over myself, which was exactly what my aims were. My intention was to offer them a space for expression after which I will be able to transform the ghosts, who were once hunting me, into creative companions, which I am able to embody consciously and structure on will. In the next weeks and months I will find out if this was actually achieved.

There was a phase in the performance in which I was clearly aware of being carried into a territory of fears, lamenting and impotence, which I had used to inhabit in teenage periods of despair and depression. This acknowledging was followed by a state of detachment as I got annoyed by the sameness and powerlessness of what was going on. I clearly remember my thoughts and how it felt: “Is that everything myself contains, the same, old terrain of tears, lamenting and smallness? Get over this dumbness…”

– PHYSICAL ACTIONS ON THE BORDER OF THE KNOWN

On one hand I researched slow movements that emanate sensefulness and presence and on the other, the deconstruction of the known through a conscious embodiment of counter-impulses. For example, if I felt the impulse to turn my chest on the right, I turned it on the left or up/down. This approach is similar to Etienne Decroux’s  “Contradictions” in the technique of Corporeal mime.

The deconstruction was more present in the first two cycles as later I suffered a decrease in energy and focus that prevented me to carry on the research with the same level of quality, at least in my perception.

– THE LABOR WITH THE GLASS TUBES

In the first round I was extremely slow in the handling of the tubes and I managed to put ash in a third of them only. I hadn’t been familiar with glass test tubes before and had first to learn, how to move them with precision without the risk of cracking or breaking them. In the third or second round I felt confident enough to decide to complicate my tube managing task. I began to perform the work with a focused intention. Only in this way my per se uninteresting activity could gain presence and become interesting.

I applied an extra-daily state of awareness to my actions and my filling of the tubes with ash and earth was transformed into a job of vital importance.  I imagined that every filled test tube became a magic bullet that would restore the health to one or more people with the diagnose of multiple sclerosis. In this way I gained a concrete and valid reason to perform my tube-filling task fast and well. It was a success!

– ENERGY ARCH IN LENGTHY PERFORMANCE

My expectancy was that the levels of presence and limbic “possession” would continue to rise with time. I was wrong and the best parts of the performance with the major moments of enchantment were achieved in the first two cycles of the performance. The flow of energy was following a decrescendo rhythm that I later connected with my voluntary segmentation of breathing, vocalization and movements, which prevented me to go deeper in the limbic state of embodiment and ecstatic trance consciousness (see Felicitas D. Goodman & Nana Nauwald: Ecstatic Trance. New Ritual Body Postures, 2003).

I am still tempted to sustain the idea that a crescendo of energy is achievable with a genuine Inter-esse performance where the whole body functions in unison, but the hypothesis needs to be put on test. However, moments of “second wind” manifested also in the last two parts of the performance, but the general level of the actions suffered a decrease in quality.

THERE IS NO PRIVATENESS IN THE COMMON

A few witnesses of the performance ‘Exercises in dying’ commented their experience as being very unusual to the performative events they normally attend. They felt as they were witnessing something very authentic and intimate, something private which they shouldn’t have been given access to. This sensation was increased by the fact that the performer (myself) seldomly turned attention to the people present.

I was consciously giving minimum attention to the spectators in order to maintain maximum focus on what was happening inside and in-between me as the endurance and research format of the performance required some safety, energy-saving precautions. However, I immediately noticed the arrival of a cat in the space and started a vocal interaction with it. The animal was catwalking on the borders of the pool in which the performance was taking place. I was hoping it would join me inside the earth-covered area, but the cat stopped on the last two stairs.

For sure I wasn’t giving attention to the visitors seating or standing backward in semi-darkness, but I clearly acknowledged and recognized (in case I knew them from before) the visitors, who were placed in the vicinity of the pool. My attention was a little more oriented to the spectators at the begging of each of the four cycles when I repeatedly announced an invocation that had the following structure: “Remember human that (… sth sth) and (… a  subtle contradiction to the just affirmed).”

There was one moment in the performance in which I directly addressed the spectators. It was during my only urination in 12 hrs, when I said “Saj te vidim… Jaz tudi!” (I am seeing you… So do I!). I could clearly feel the disturbance my words generated in the present witnesses. The phrase contained a clairvoyance. Even without directly addressing or facing the Other, you cannot avoid “seeing it”, meaning that you are inevitably affected by its presence.

My work in general (as it is based on the Inter-esse performative approach) and the project ‘MRI MS’ in particular, in even more complex and evident terms, are conducted around  the issues of property and common space. In fact, my art praxis suggests that neither intimacy nor individual development can exist alone. They occur within a certain defined spacio-social context (geographic, social, politic, economic, linguistic, archetypic, etc.) and are therefore never private.

What have I learned from the experience?

– DON’T SEGMENT VOCALIZATION AND BREATHING FROM PHYSICAL ACTIONS as it brings a decrescendo rhythm and doesn’t prepare the voice for singing.

– ADOPERATE THOUGHT-ACTIONS in your performance, always! The clearer they are, the better.

– MY GUT LANGUAGE IS ITALIAN. Therefore work with Italian vocal actions first and then move to native Slovene and English.

– WHAT COUNTS MOST IS A CERTAIN LEVEL OF QUALITY: the quality of “persuasion” (see Carlo Michelstaedter: Persuasion and Rhetoric, 1910). Once there, it doesn’t really matter what you do as everything is valuable and valid. You can direct this state of being or energy into art, performance, writing, talking, research or anything else. The form can take different shapes, but what really counts – the invisible, subtle matter or the quality – remains the same, no coming no going.

 

 


This evaluation is an example of self-reflection.

Photo: Hana Jošić

Production: Rampa / Kersnikova

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