CORPO – FESTIVAL DELLE ARTI PERFORMATIVE
Historicizing – VII edizione
VENEZIA- ISOLA DI SAN SERVOLO
12/13 maggio 2017
CORPO – FESTIVAL DELLE ARTI PERFORMATIVE
Distant Letter Present Now, 2017
Performance: Saturday, 13 May 2017 | 6-8 pm
a cura di Ivan D’Alberto e Sibilla Panerai
Corpo- Festival delle Arti Performative,
Venezia Isola di San Servolo,
Isola di San Servolo, 30100 Venice ITALY
Station: San Zaccaria – ACTV Linie 20
Mariana Hahn, Distant Letter Present Now, 2017
Performance: Saturday, 13 May 2017 Venice
© Foto Esther Attar-Machanek
Mariana Hahn
Ich performer diese performance alle 2 Jahre.
An Verschiedenen Orten.
Die Sätze auf den Briefen verändern sich immer alle zwei Jahre da ich mich ja auch verändere. Irgendwann wenn ich alt bin kann ich all diese Sätze als eine art Abbild meines Lebens sehen. Meines Körpers. Meiner Zeit.
Dieses Mal wurde auf der Insel San Sevolo performt in einem alten Kloster das irgendwann eine Irrenanstalt für Frauen wurde. Frauen wurden dort misshandelt.
Jetzt ist dort die Kunstakademie
Die Performance wurde für Corpo, Festival del Arte performative abgehalten.
Mariana Hahn
Mariana Hahn, Distant Letter Present Now, 2017
FEELING IS A FACT AND MY BODY IS A MONUMENT OF THAT FACT
everything is body, the world is body I am body. Absolute body. the phrases found on the letters that the spectator( reader) receives are part of an internal instant dialogue between body and the inscriptions found on it and vice versa, they are a poem of my body, the poem acts as an externalization of the body, imprinted onto paper. the letter travels to the reader from a distance, a past and yet finds actuality in the instance of reading.
all the parts of the poem could be put together in any order but also as single phrases they are the sum of the whole. the words are sometimes abstract, sometimes clear inscriptions that i find on my body, sometimes as strange and painful lacerations or as in other times as tiny laughing currents. as i write them onto paper they
take on a new form, and also pass away for me, or i for them?
they move from a distance into an absolute presence the instance they move toward me from that distance and are extracted by passing them through my fingers, thereafter they are hardly tangible for me, they become intelligible to me. there is no sense of remorse toward that act, as it has the taste of a life saving action. they are handed on to the reader and as he/she borrows the words they inscribe themselves into his body.
There always tends to be a difficulty to reconcile language directly to a body, due to
the autonomy of language. As soon as words have been written down they become
part of a different reality, so connecting them with the body, with this organic form,
with the body’s story will seem artificial as a result the body can only function as
artifact, as an effigy of the scripture.
The reader will lend the phrases a thousand different meanings as he/she extracts these from recollecting his/her own memories and carefully knitting these together with the phrase on the letter. Like that they will find a general objective and value. the body lends itself to the reader as sculpture, sculpture as a felt thought, the face is hidden, the face is too fleeting and too referential, I find the face too masked to be able to discern a clear dialogue from it.
The artist isn’t present, and yet she is since the body anticipates the presence of the artist, she isn’t there in as much as she doesn’t actively interact with the reader, while the phrases inflict movement into the space by creating an adjacent space between reader and body.
http://cappa-artecontemporanea.blogspot.co.at/
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