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Artist´s statement:
Mobility, flexibility, locality and temporality of the experience, as well as the public/private dialogue are important elements of my artistic practice that have found their expression in many site-specific interventions and performances. During an artist-in-residence program at the OMI International Artists Residency in New York State, I made a piece that involved an inflatable structure requiring the participation of 5 people. At any given moment in time, 5 participants were breathing the same air while sharing the common space of the inflatable bubble. As their heads were free to move, the rest of their bodies were unchangeably squeezed between two layers of vinyl. No one was able to leave the unit on his/her own and all 5 people had to “agree” what to do or when to end the performance.

Conversation bubble, facts:
Material: vinyl, 1/2 horse power blower, 5 participants
Dimensions: 15 feet in height (approx. 450cm) x 10 feet in diameter (approx. 300cm)

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ACT - part I with Ana Rewakowicz is touring to Oslo Kunstforening, Du Store Verden June 7 and to Odda´s Smelteverkstomt in collaboration with Odda kommune in Hardanger and Folgeform June 12.

Performance Odda
Performance Oslo

ACT - part I
Ana Rewakowicz (PL/UA)

14.06.08. 13:00
"Conversation bubble (family therapy room)"
live sculpture / outdoor performance & seminar

Curated by Pia Torgersen and co-curated by Malin Barth

ACT - part II
Regina Jose Galindo (GTM)

08.11.08. 13:00
Who can erase the traces?
performance

  Act2-1
  ct2-2
  Act2-4

A slight young woman in a black dress walks barefoot through the streets of Guatemala City, carrying a white basin filled with human blood. She sets the basin down, steps into it and then out, leaving a trail of bloody footprints from the Constitutional Court building to the old National Palace. The corrupt Constitutional Court had recently allowed the former military dictator, General Ríos Montt, to run for president despite the Constitution’s barring of past presidents who gained power by military coup. A Guatemalan who didn’t know that it was a performance titled Who can erase the traces?—or even who had never heard of performance art—would have had no trouble understanding the symbolism: the ghostly footprints representing the hundreds of thousands of civilians murdered, overwhelmingly by the Army, during the long years of war and after; the persistence of memory in the face of official policies of enforced forgetting and impunity. I’ve read (and have contributed) plenty of words, a surfeit of words, about violence and injustice in Guatemala. That trail of bloody footprints was the most powerful statement I’d encountered in ages.

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www.karaandrade.com
www.artpace.org

ACT1