WHAT REMAINS OF A REMBRANDT TORN INTO FOUR EQUAL PIECES AND FLUSHED DOWN THE TOILET
performance for museums and exhibitions spaces
15 - 16 May 2021 Groeningemuseum & Gruuthusemuseumm, Brugge (BE) / KAAP take over
26 - 27 May 2018
Villa Empain - Fondation Boghossian, Brussels (BE)
15 - 20 September 2017
Państwowa Galeria Sztuki, Sopot (PL) / ARTECITYA residency at Laznia Centre for Contemporary Art, Gdansk
3 - 10 November 2017
Palazzo Fortuny, Venice (IT)
performance for museums and exhibitions spaces
15 - 16 May 2021 Groeningemuseum & Gruuthusemuseumm, Brugge (BE) / KAAP take over
26 - 27 May 2018
Villa Empain - Fondation Boghossian, Brussels (BE)
15 - 20 September 2017
Państwowa Galeria Sztuki, Sopot (PL) / ARTECITYA residency at Laznia Centre for Contemporary Art, Gdansk
3 - 10 November 2017
Palazzo Fortuny, Venice (IT)
︎︎︎
A museum is greater than the sum of its buildings, artworks, and visitors.
Its grand narrative contains many layers to be decoded: the history of an institution, the silent past life of its rooms and corridors, hidden traces of former uses. The audience is physically present among all these elements and in dialogue with them.
The performance is a tool for narrating the museum space letting hidden stories and unexpected connections emerge. At the same time, it keeps track of a common event (the act of visiting) and makes the spectators conscious of their own presence and choices within the exhibition space. The visitors are ultimately portrayed as performers themselves, as authors of their own ritual choreography within the museum.
The performers share with each other a common methodology of observing, memorizing and storytelling. For each observation session, every performer follows discreetly a visitor during the museum tour. While following, the performer memorizes a selection of events concerning the relationship between the visitor, the museum architecture and the art collection. The session ends with the performer telling the visitor about their own visit.
Its grand narrative contains many layers to be decoded: the history of an institution, the silent past life of its rooms and corridors, hidden traces of former uses. The audience is physically present among all these elements and in dialogue with them.
The performance is a tool for narrating the museum space letting hidden stories and unexpected connections emerge. At the same time, it keeps track of a common event (the act of visiting) and makes the spectators conscious of their own presence and choices within the exhibition space. The visitors are ultimately portrayed as performers themselves, as authors of their own ritual choreography within the museum.
The performers share with each other a common methodology of observing, memorizing and storytelling. For each observation session, every performer follows discreetly a visitor during the museum tour. While following, the performer memorizes a selection of events concerning the relationship between the visitor, the museum architecture and the art collection. The session ends with the performer telling the visitor about their own visit.
Concept and dramaturgy: Simone Basani
Curatorship: Alice Ciresola
Performance:
Matteo De Blasio, heike Langsdorf, Sonia Si Ahmed, David Weber-Krebs (Brugge edition)
Maïte Álvarez, Marion Gassin (Brussels edition)
Dana Chmielewska, Joanna Czajkowska, Julianna Graczyk, Katarzyna Pastuszak,Agnieszka Sprawka (Sopot edition)
Maïte Álvarez, Bianca Maria Fasiolo, Anna Laura Penna, Elisa Pinna, Marco Tonino (Venice edition)
Curatorship: Alice Ciresola
Performance:
Matteo De Blasio, heike Langsdorf, Sonia Si Ahmed, David Weber-Krebs (Brugge edition)
Maïte Álvarez, Marion Gassin (Brussels edition)
Dana Chmielewska, Joanna Czajkowska, Julianna Graczyk, Katarzyna Pastuszak,Agnieszka Sprawka (Sopot edition)
Maïte Álvarez, Bianca Maria Fasiolo, Anna Laura Penna, Elisa Pinna, Marco Tonino (Venice edition)
