Drittes Land (third country) is the diplomatic status of the Republic of San Marino with respect to the European Union (December 2019). With this performance, I reflect on this status as something which is not just imposed from outside onto the Republic, but also, and for me most importantly, as a condition which is self-imposed and constructed. in my opinion, several national debates and ideological positions contribute to marginalization and separation of the Republic from the rest of the world. in the performance, I mentioned the 2013 Referendum, when the Sammarinese population voted against the beginning of a process of rapprochement with the EU, abortion (still illegal in San Marino), the power of the Church and the recurrent financial scandals. The performance began by using the language of the wide-spread religiosity in the Republic and citing Maurizio Cattelan (a site-specific work he realized in San Marino in 1991 is documented in the same room) by sharing a banana among the visitors. At the invocation: “Vieni spirito dell’Arte” (Come Spirit of Art), they replied: “Vieni in mezzo a noi” (Come upon us) and ate the banana all together.
After this ceremonial prologue, the performance was divided into four parts: a flow chart on what happens when someone asks me where I come from; two diary entries on a meeting with an officer working at the Ministry for Foreign Affairs of the Republic of San Marino and on my appointment to renew my residence permit at the immigration office of Freiburg (Germany); and lastly, an essay on L’ECADC ovvero l’extracomunicato animale da circo (the non-EU citizen circus animal), which deals with the strikingly similar ‘social’ requirements the two figures face every day to stay part of the company, or to earn the next visum/residence permit. Each text (completely hand-written) was read, crumpled up and thrown into a trash bin, together with the banana peel, my passport and my residence permit, in a sign of liberation and overcoming of this, very emotional, ‘prima bozza’ (first draft).
Intersectionsexplores the concept of “intersectionality” through a poem and a performance. A real intersection is used as a metaphor to describe how social categories like gender, nationality and religion may influence and constrain study and career choices, with a focus on women in academia.
Corporeal realities is a drawing performance which wanders in time and space. It is the artist’s journey of self-reflection. It explores the performer’s identity through the limits/contours of her own body. Identity, as the performance, is represented as a process. It never ends and it always changes through time and space. It moves, it re- writes itself, it reacts differently to the surroundings. It crosses other’s lives and it vanishes with time as the chalk traces on the floor. It is the representation of the mark one leaves on people and places. Where does the body end? And where does the external world start? What norms regulate the borders and interaction of those two spaces?
“As a consequence of being in the mode of becoming, and in always living with the constitutive possibility of becoming otherwise, the body is that which can occupy the norm in myriad ways, exceed the norm, rework the norm, and expose realities to which we thought we were confined as open to transformation”
Judith Butler, “The Question of Social Transformation” in Undoing Gender (New York: Routledge, 2004), p. 217
Corporeal realities is a journey of appropriation and empowerment. As passerby and spectator, you are invited to take chalk, join the artist and start drawing your contours to explore your body in its dialogue with the other performers, the audience and the city.
Corporeal realities at UKYA City Takeover
Nottingham (UK) 7-13 February 2019
February 11, 2019 (3:30 – 4:00 PM) at Nottingham Lakeside Arts