In the Catharijneconvent Museum in Utrecht, monastery material archives appear as the exhibited props and costumes of a Theatre. The gowns, dresses, headpieces and other accessories can be looked at stripped from the context and bodies to which they belonged. 

Making performance is making Place. As placemaking becomes the new suggested approach for shaping our urban environment, more attention is given to people's practices as generative of urban form. Drawing a parallel between the habitually practiced rituals of our everyday and the artistically directed performances, I suggest that the latter generates 'place' from 'space', giving symbolic significance and specificity to the abstract notion of an environment. What does it mean to consider performance making as placemaking?

Performance makes place for discourses, for the placing and layering of multiple narratives onto a same frame. Spaces are physically and symbolically contested and transformed through this layering of meanings. How can artistic practice be catalytic to such transformations?

Our practices remain inscribed in our maleable environments. The traces and records of our actions will define and locate our roles in the world. Can we reveal elements of ourselves by observing our practices from a distance?

I consider the recognition of performance in common practice necessary for self-inquiry. Performance as an artistic practice then becomes a tool to render common practices as alien. Only then can the symbolic value of spaces be observed in relation to our actions. Only then can embodied structures be disclosed and challenged.

"[...] However, even if human bodies are subject to aging, death, and dissolution in the flow of material processes, it does not mean that human beings are also in flux. One can be born, live, and die under the same name, having the same citizenship, the same CV and the same Web site, remaining the same person. Our bodies are not the only material supports of our being persons."

Boris Groys, In the Flow, Verso 2016.

William Kentridge, the South-African artist famous for his work tackling the topic of Apartheid, receives an honorary award by the Tel Aviv University in Israel.

Apparition of the virgin Mary to a group of Dominicans, anonymous, XVIe, Museum Catarijneconvent, Utrecht, n° inventary ABM s72. (© Museum Catarijneconvent, Utrecht)

Perspective as a representational tool to present structure and hierarchy.

Apparition of the virgin Mary to a group of Dominicans, anonymous, XVIe, Museum Catarijneconvent, Utrecht, n° inventary ABM s72. (© Museum Catarijneconvent, Utrecht)

Perspective as a representational tool to present structure and hierarchy.

On spectatorship

On Artistic Practice

On Performance Lecture