Tag Archives: Ljubljana

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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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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Frikšn Bar #7: Impossible = I’m possible

On the 14th of February 2017 Jatun Risba participated at Frikšn Bar #7: Impossible = I’m possible, the regular Art & Science Café event in Ljubljana in the redaction of Kapelica Gallery, Rampa Lab and BioTehna.

About the event:

Discussion and socializing with: artist Jatun Risba, neurologist dr. Blaž Koritnik, theoretical physicis and inventor Andrej Detela and witer and publicist Mojca Kumerdej.

The starting point for the seventh Frikšn bar is the upcoming art project by Jatun Risba, where she deals with the autobiographic story of her détour with multiple sclerosis.

In the discussion we will question the ability of an individual to self-organise for a better internal structure and the effect of this process (‘self-care’) on changing society. Can we be healthy in an unhealthy society? Who is the ‘me’ who falls ill and can we heal ourselves? What are the requirements for healthily inhabiting a thinking body and what is the power of art when creating our own self? The work of the artist Jatun Risba is steeped in the study of the unconventional techniques of the body and she will look for answers to these questions together with guests: dr. Blaž Koritnik and Andrej Detela.

Photos of the event: →

 

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No Coming No Going

An excerpt of the pilot version of the performance No Coming No Going (Ni prihajanja in odhajanja) by Jatun Risba that occurred at Modri Kot (Tovarna Rog, Ljubljana, Slovenia) on the 1st of November 2016. The performance was part of the event Luknja v novcu (“A Hole in the Coin”) that was dedicated to Aleš Kermauner (a fabulous Slovene poet who committed suicide at 19 in the ’60s) and to all other people who killed themselves. The aim of this event was to create a meaningful, magic evening that would add enough sense, beauty and value to our existence to chase away any thoughts, or attempts of suicide, forever.

The body & eye movements and the use of finger/nail extensions are inspired by Balinese traditional dances. The chant functions as a choral mourning song that wants to shed away the pain and the tears of those who suffered from suicide (Slovenia has a peculiarly high suicide rate).

Further developments and executions of the performance will be scheduled in 2017.

 

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Vračanje (RETURN)

On the 6th of January 2017 Jatun Risba performed “Vračanje” (Return), an art intervention that took place in front of the Ljubljana Cathedral in Ljubljana, Slovenia.

The performance embodies the return of “the outlaw”: the selves, who the society and the culture we live in refuse to acknowledge and validate. The action claims the need to reconnect to our carnality as the ascent toward peacemaking or so called “spiritual awareness” cannot begin elsewhere than in our viscera (1) and in the process of sexual individuation.

More photos of the performance are available here. The photos were made by Tadej Čauševič. His website is: http://tadejcausevicphotography.com/


(1) The number of neurons in the visceral support system exceeds the number of neurons in the spinal cord and brain stem.

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Gran finale na NEXTivalu

Posnetek solo zaključka Inter-esse performansa na NEXTivalu. Po 3,5 ur neprekinjenega Inter-esse gibanja ni bilo nobenega sledu o utrujenosti. Zakaj? Več o tem tukaj.

Video in fotografije kolektivnega Inter-esse performansa bodo še objavljeni … Hvala vsem, ki ste sodelovali! Bilo je fino, zabavno in družabno. ;)

 

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Možgani (Brains)

Možgani is a performative action by Jatun Risba that happened during the 13th Brain Awareness Week in Ljubljana, Slovenia. The action occurred at SAZU (Research Centre of the Slovenian Academy of Sciences and Arts) on the 17th of March 2016.

Filmed & Edited by Medard Kržišnik.

 

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Samospraševanje ob delu »TRUST ART 6-10-2015«

Šestega oktobra sem skupaj z Zdenko Badovinac, direktorico Moderne galerije, izvedla performans z naslovom TRUST ART 6-10-2015.

Poleg performansa je projekt TRUST ART 6-10-2015 generiral tudi grafično delo: vizualno adaptacijo zunanje pole časopisa Delo z dne 6. 10.2015, ki je bila izvedena v tehniki duhovodene risbe. Izdelek bo postal del prostorske instalacije, ki je trenutno še v fazi nastajanja.

 

Kaj je bil performans »TRUST ART 6-10-2015«? Čemu je služil? Kaj je ustvaril?

S sodelovanjem v umetniškem projektu TRUST, avtorskem delu  Janeza Janše, Janeza Janše in Janeza Janše, ki je predvideval naročilo osebne bančne kartice s fotografijo omenjenih umetnikov na Triglavu (TRUST bančna kartica), sem bila vključena v  performativno enotedensko izmenjavo lastne TRUST kartice z naključno izbranim udeležencem v projektu.

Zgodilo se je. Zlata TRUST kartica Zdenke Badovinac se je odločila, da bo naslednjih sedem dni gostovala v prostorih in emocijah Umetnosti Sebstva, medtem ko se je moja debetna TRUST kartica odpravila na izmenjavo v ljubljanski Kunsthaus. Dan je klical dan in ko se je teden vrnil na začetek, sem stala v Moderni galeriji v spremstvu Zdenkine bančne kartice.

 

TRUST kartica je v tem času postala moj podaljšek, kot obleka; na moje telo je projicirala hologram osebe, katere ime je nosila.

TRUST kartica je bila glasnik, ki me je napovedoval, kot avizo; pred sogovorniki je nastopal v institucionalno razumljivem jeziku z umetniškim naglasom.

TRUST kartica je bilo orodje, ki me je usmerjalo, kot cestni navigator;  poznal je poti in bližnjice do manj dostopnih koridorjev gradu Moderne galerije.

Visoka nadstropja dvorca umetnosti  so se spoštljivo upogibala pred menoj, sklanjala stoječo irokezo v pozdrav in me s skrbjo privedla do direktoričine pisarne.

TRUST kartica mi je zagotovila moč, s katero sem po prednostnem pasu vkorakala  v srž institucije Moderne galerije.

Imaginarni roj sršenov se je pritisnil obme ter me spremljal …

TRUST kartica mi je podelila avtoriteto postavljanja pravil tudi na tujem ozemlju.

Za priložnost izmenjave TRUST bančnih kartic z Zdenko Badovinac sem si zamislila 3’33” dolg performans gradnje zaupanja (TRUST ART 6-10-2015), ki se je začel na razdalji desetih metrov in zaključil s predajo bančnih kartic in fotografiranjem. Približevanje je bilo dovoljeno le ob vzpostavitvi telesno doživetega čustva zaupanja. Za slučaj neuspešnega podviga sem v žepu hranila dva zavitka desetmetrske vrvi. Štoparica je bila zagnana in soperformerjeve oči so začele prostor med nama sestradano goltati. Pravilo prezenčne iskrenosti ni zdržalo pritiska praktične izvedbe. Gib ni bil ogledalo stanja občutenega zaupanja najinih razmišljujočih teles. Približevanje je bilo plod razmišljanja. Um ločen od telesa.

Celotni projekt je deloval, to sem z jasnostjo spoznala šele nekaj tednov kasneje, kot prehodni obred, s katerim sem sprostila in transformirala odpor, zadržke in negativna čustva, ki sem jih nekoč, v preteklem življenjskem ciklusu, gojila do institucionalnega umetniškega udejstvovanja. Spoznanja do katerih sem s pomočjo performansa prišla so naslednja:

 

  1. »UMETNOSTI SEBSTVA ŽELIJO VZPOSTAVITI DIALOG Z INSTITUCIJAMI SODOBNE UMETNOSTI.«

Čeravno se naše vrednote in vizije glede umetnosti razlikujejo, to nikakor ne pomeni, da ne moremo sodelovati. Drugačnost prinaša kompleksnost, širino in večplastnost. To spodbuja inovativnost in kreira bogastvo. Razlike ustvarjajo kontraste: pogonsko silo, ki ustvarja izboljšave, razjasnitve in nepričakovane priložnosti. Ne gre za dominacijo nad šibkejšim, ne gre za izničenje drugega, ki ni in niti noče biti nasprotnik, prej sopotnik.

NAUK: Otresti sem se morala vzorca »drugačnost kot problem«, »drugačnost kot vzvod za boj in tekmovalnost«. Metodologija prevlade močnejšega je postavila glavico na sonce in se zableščala. V soju mraka in ob primernem času pa izginila iz človeškega vidnega polja kot privid.

 

  1. »UMETNOSTI SEBSTVA LAHKO USTVARJAMO IN PREDSTAVLJAMO TUDI V KONTEKSTU KULTURNIH INSTITUCIJAH, KI SO SVOJEVRSTNI JAVNI PROSTOR.«

Ko stojiš trdno ukoreninjen v prst lastnega sebstva, ko veš kdo si, kaj nosiš in kam greš, se lahko fleksibilno nagibaš do te mere, da v vsaki  situaciji najdeš pot, kjer ohraniš vso svojo integriteto. V drugem tednu oktobra sem višek sproščene energije uporabila za snovanje performansa »MR MS« (Moje Regularno Multiplo Sebstvo), ki sem ga prijavila na Plesno internacionalo (in bila zavrnjena) ter na razpis za mlade ustvarjalce AGON (in bila zavrnjena). Performativni pièce »MR MS« je ne glede na diplomatske (ne)odzive v vihrivem plesnem  galopu. Jezdenje pridobiva elan in virtuoznost, konjenik pa že vizualizira perspektivne lokacije za nepričakovan udar.

NAUK: Samozavest in predanost krepita spretnost udejstvovanja in kreativnost. Z gibčno osno strukturo lahko prečkaš prehode katerihkoli oblik in dimenzij.

 

  1. »NE MOREMO PRISILITI DRUGIH, DA STOPIJO V NAŠO IGRO. SPREMEMBE SE ZGODIJO LE OB OSEBNI PRIPRAVLJENOSTI IN ODLOČITVI.«

Performans zahteva stanje čuječe pozornosti, prezence tu in zdaj. Predajo pravilom igre dosežemo z brezpogojnim sprejemanjem postavljenih omejitev, kar pogojuje tudi določeno disciplino. Performans se zgodi v prostoru brezčasnosti, kjer ni  tekmovalnosti, ocenjevanja in merjenja moči. Soavtorica performansa  TRUST ART 6-10-2015 se za performans ni odločila samostojno. Vanj je bila povabljena in do neke mere celo prisiljena. Ker na performans ni bila aktivno pripravljena, se mu ni bila voljna predati. Performans je deloval kot sredstvo za vrnitev osebne TRUST bančne kartice, ne pa kot priložnost za gradnjo utelešenega zaupanja z nepoznano osebo.

 

Čutila sem nestrpnost. Do neavtonomno začete igre.

Čutila sem navezanost. Na svoj bančni račun.

Čutila sem strah. Pred drugačnim in nepričakovanim.

Čutila sem zaupanje. Do mene, ki nočem izkoristiti TRUST projekta za denarne odtujitve.

 

NAUK: Performativni poziv Janezov Janš v delu TRUST (in moje stopnjevanje projekta v TRUST ART 6-10-2015) je naletel na odzivno pripravljenost gradnje zaupanja in navdušenje le pri posameznikih, ki so bili predhodno željni in pripravljeni performativnega udejstvovanja. Sodelovanje ostalih udeležencev je bilo temu primerno medlo in kiselkasto. Koristna poduka za moje participatorne ambicije.


Veš o samospraševanju, tehnologiji umetnosti sebstva

Grafični poseg na časopisni platnici je primer vizualnega détournementa, še ena tehnologija US

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Glasovno-gibalni duhoperformansi že na površju …

Kako se kaže duhovodeni performans v gibalno-vokalni različici? Na voljo video izsečki najavljenih petkovih dogodkov v Ljubljani, katerim se je pridružil še ad hoc sobotni performans, ki sem ga izvedla Sežanskemu občinskemu prazniku ter starim in novim prijateljem v čast.

Več o duhovodenosti, tehnologiji US:

Vpogled v prešnje dogodke duhovodenega plesa (z in brez glasbe): 

Umetnosti sebstva in festivali:

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Zadnja performativna dogodka v tem poletju – v petek 28.8. v Ljubljani

Vabim vas na doživetje zadnjih dveh performativnih dogodkov duhovodenosti pred pričetkom šolskega leta. Na ogled vama bosta v petek 28.8 v Ljubljani.

Tokratna približno 20 min trajajoča dogodka bosta prvič izvedena v gibalno-vokalni nadgradnji in brez glasbene spremljave. Prvi se bo zgodil ob 19ih na Starem trgu, drugi okrog 23.30 na Novem trgu, po SAETA feat. Irena Tomažin koncertu.

Kje točno na trgu se bom nahajala? Ne vem. Gotovo pa znotraj prenosne krožnoglede platforme iz recikliranih plastičnih vrečk

Več o duhovodenosti, tehnologiji US:

Vpogled v prešnje dogodke duhovodenega plesa (z in brez glasbe): 

Umetnosti sebstva in festivali:

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