Performance residency with Raw Matters, Vienna
30.11. – 20.12.2020
Raw Matters, Vienna
Showing Jan/Feb 2021 Studio Molière, Vienna - cancelled due to Coronavirus Covid-19
Solo performance - Cut her out
06. – 20.06.2020, Vienna
Festival SOHO in Ottakring 2020, Vienna
As a re-enactment, gliska's performance takes up the act of cutting a person of color climate activist out of a frequently depicted photo of young climate activists at this year's World Economic Summit in Davos. What remains is a picture of four white and blond activists. The remaining empty space in the picture refers to social discrimination and power structures.
Cancelled due to Coronavirus Covid-19
solo - turmbau zu babel
durational work in progress as part of raw matters – large and long at
arbeitsplatz wien, siegfriedgasse 23/ tor 1 vienna
duration: 90 minutes
desire with no name
solo performance; Châtèau Rouge, 1120 Vienna; Austria; 31.10.2019; 20.00
duration: 53 minutes
Paul Preciado understands desire, excitement, and pleasure as the engine that generates added value in contemporary capitalism (Preciado, 2016; Testo Junkie. Sex, drugs and biopolitics in the era of pharmaceutical pornography. Berlin. b-books). He calls this orgasmic force potentia gaudendi, the excitatory potential of a body.
It acts as an essential motor that energizes and drives the body, marking it as a desiring and desired body. It transforms the world into pleasure, but cannot be possessed or bought as such, since it has the character of a process, describing a practice. This pleasure can create something new, but this pleasure can also capture people in the treadmill of neoliberal capitalism. There is no doubt that our bodies react to and with the potentia gaudendi.
The desiring and desired body is the focus of my exploration. Desire drives bodies into affective resonances with the environment, objects, and other bodies. It is about letting oneself be influenced affectively, letting oneself be desired, desiring oneself, instead of pretending to know the world and to know about it. The intensity of the potentia gaudendi can touch me, leave me cold, surprise me or even overrun me, illuminated by proverbs like "being beside me" or "the strangeness within me".
Where and how does the potentia gaudendi touch me? Where does it leave me cold? Where do I lock it out? How does my body react to it?
video link (vimeo) available upon request
photos: herbert j. wimmer
liquid creatures volume 0
duo performance Gerhard Liska & Marion Steinfellner; Marion’s GedichtTanzAtelier Vienna; Austria; March 2018
duration: 50 minutes
This performance is a private showing of our research in queer ecology. Queer ecology for us is a vivid image of non-hierarchical relation and interaction between creatures.
photos: herbert j. wimmer
who am I?
Durational solo performance as part of CO-CREATION LIVE FACTORY Prologue 1, VENICE INTERNATIONAL PERFORMANCE ART WEEK; Palazzo Mora, Venice; Italy
Start: 16:39 End: 20:59 Total: 4 hrs 20 min
Final day of the Performance Art Week in Palazzo Moro: Various artists present solo and group pieces developed during the Art Week to an audience that can stroll freely through the two floors open to the public. The artist approaches visitors with the simple question “Who am I? Chi sono io?” He notes down the answers on paper sheets or let the visitors note them down for him. Some answers are also recorded. Addressing the visitors with a curious urge and almost naïve interest the artist leaves the visitor in a double-bind situation. Trying to be supportive, to satisfy the curious need of the artist on the one hand, while at the same time being asked a question that only the inquirer can solve for himself. After all, not only the question itself is irritating. Irritating is also the fact that the visitors, that expect to walk through the space watching performances, are addressed themselves, thus being turned from a mere visitor to a constitutive part of a performance itself. The performance thus, even though it takes place in the building, enfolds itself on various places within this building and, even though there is the time frame of the overall duration, enfolds itself within the small time frames of the actual personal contacts with a visitors. After an initial phase of being puzzled many visitors come up with a more or less colorful persona for the artist in response to a question that also is at the very heart of a meaningful life. Am I living according to the prescriptions and codes of others (parents, religious communities, societal norms, etc.) or am I trying to find my own truth, my own freedom?
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