Panic Attack a collaborative performance for TO BECOME TWO a project organised by Alex Martinis Roe to create propositions for feminist collective practices, through investigating a partner collaborator's work. Developed over the course of two weeks at Showroom, London.
Panic Attack movement score: *From the Air by Laurie Anderson and Give up the Funk by Parliament.
In my opinion, Edy’s work Hey Jude is confronting viewers by exposing physicality in different meanings and layers. In this piece, she places speakers on the wall which makes the viewer observe the object as an aesthetic dimension not just a tool for activating senses. The viewers listen two different interpretations of the song from different music bands in 1970’s. One song is the original version of The Beatles and the other one is from the group Temptations. With this attempt, artist not only puts two different cultures and expositions in one piece of work but also interchanges the activity of the physical interactions between the audience and visual tools. Sound is a strong element that reaches the observer in another state of thinking, looking and interpreting the politics of the artistic context. Hey Jude, looks awry to states of barbarity and combines different hegemonies and voices in order to re-enact repressed regimes and isolations in various societies. It is interesting for me to absorb the discrepancy between two explications within the same concept that refers the unity and solidarity of opponent norms.
Title: Panic Attack - duration of score (13.01 min)
Create a collective, performative series of actions, organised by a score of music. Each element becomes the building blocks of a structure, within which every person may contribute. The creation of this performance will be a process in which all can participate, however things will either be mixed in, or out. All elements, whether verbal, sound-based, or actions, will be organized according to this musical score. The structure of the score will create meaning between the various and disparate elements that we do together or individually within the piece.
I would like to address the issue of collaboration between artists as a venue for breaking the barriers of female representation and understanding in the arts.
I believe that instead of asking men for equality, women have the power to demand it, by working together. I'd like to explore ways in which women can be taught to network for and with each other to help each other find a platform to get their work the attention it deserves. I would like to explore the unique ways in which women can own their own voice and perspective that can stand alone without necessitating the context of feminism. In the same way male artists do not need to create work within a 'masculist' context.
The practice of objectifying female sexuality within ourselves, for ourselves.
In order to generate networks, one must put a name on, and structure the content, that one wishes to disperse and use in a transactional way.
Umpalumpa, by Naz Balkaya
I see this work as an attempt to define something without knowing what it exactly is.
The video begins with footage of a very public game of football, highly structured and powerful, totally inclusive, having the entire support of a diverse world of masculine intent and fame that in turn generates incredible wealth.
Suddenly inside this world a small tunnel appears showing at the end of it an anonymous female, performing intimate actions on her own body.
The things she does are private and sexually charged, but one doesn't know what it is exactly she is doing. There is no structure, only a series of actions, and nothing leads to any conclusion. She is alone.
This implied, meandering exploration of female sexuality that Naz chooses to impose on the footage of the game I believe is meant to show not only the difference between the two, but also expresses a longing to find a way to insert sexuality from the private realm into the public and be able to use it in a transactional way that can generate value collectively, for herself and others.