Photo argentique Didier Olivré – Festival DansFabrik, Scène Nationale Le Quartz, Brest Dans le cadre de la présentation de ‘Projection’, 3ème volet du Triptyque Camera Obscura
Performeuse / Chorégraphe
Formée au “Live Art” (Performance) en Grande-Bretagne au Royal Conservatoire of Scotland à
Glasgow, (ex.RSAMD – Contemporary Performance Practice Course) après un premier
parcours théâtral et une pratique de la danse (Conservatoire d’Art Dramatique – Brest, Troupe-
École d’Art Dramatique Pierre Debauche – Agen). Elle est, par ailleurs, titulaire du DU Art,
Danse et Performance (Université de Franche-Comté, Besançon).
Ce chemin tant artistique que personnel l’amène à travailler et vivre en France, en Grande-
Bretagne et en Allemagne sur des projets collectifs et autour d’une recherche plus individuelle.
Elle interroge ainsi, au long cours (2003-2012), son rapport au regard, à l’intime et au
dévoilement de soi, dans le cadre du Triptyque Camera obscura. Questionnement qui
l’accompagnera durant ses déambulations artistiques en Europe.
Très intéressée également par les processus de créativité et l’expérience sensible, elle mène en
parallèle, une recherche sur la transmission de ces thématiques et le développement de la
créativité dans le cadre d’ateliers et de créations pour enfants et adultes en utilisant des
médiums et des dispositifs transdisciplinaires (installation plastique, son, voix, lumière, corps,
vidéo, etc.). Dans ce cadre, elle collabore régulièrement depuis 2006 avec le Festival
Entrendanse (Festival de danse pour enfants).et depuis 2007 avec Le Service Culture et
Animations de la Ville de Brest en milieu scolaire.
Elle est intéressée par l’exploration de l’altérité, de la relation avec le spectateur et cherche à le
rencontrer de manière plus horizontale, plus fragile. Pour ce faire elle installe un rapport de
grande intimité avec lui afin de se mettre dans une situation de fragilité en créant des
installations-performances dans lesquelles le spectateur est nécessaire au fonctionnement du
dispositif. Tout tourne autour de lui, son rôle est indispensable, cela permet ainsi de casser les
rapports de hiérarchie souvent inhérents au ‘spectacle vivant’ et à ses codes habituels : la
scène et le 4ème mur. Chacune des deux parties (artiste/spectateur) peut ainsi faire cette
expérience de fragilité et d’intimité. Par ce biais, elle espère parvenir à une plus grande
réceptivité dans leurs échanges.
Dire ou montrer le soi, l’intime, est, dans ce cadre-là également, une manière d’aller chercher
l’universel : ‘s’utiliser’ pour aider l’autre à mettre à jour le soi et et parvenir ainsi à un étrange
télescopage entre l’intime et l’universel.
Quant au mouvement, au geste, il entre lui aussi dans la sphère de l’intime. Trouver le geste
juste, celui qui dans une installation donnée fait sens, est indispensable et nécessaire afin de
ne jamais entrer dans une forme de décoration.
Des installations-performances immersives, courtes, répétées en boucle pendant plusieurs
heures, dans un rapport intime de « un-à-un » avec le spectateur, clé de voûte indispensable de
l’installation. Le geste, construit en rapport avec le dispositif, est celui d’un corps contraint, une
présence en creux ou en plein qui vient activer ce dispositif.
Yuki Kobayashi / 小林勇輝, (Japanese Visual artist, Performance artist) uses his body to explore the neutrality of gender. Questioning racial stereotypes, looking into human relations. The resonance between restriction and fluidity in time and space. Kobayashi’s action-based performance seek to reveal the authenticity of the human condition, working with the unexpected and the spontaneous to discover the invisible. Questioning both power and restrictive social codes towards a more uncertain world of freedom and equality.
artist statement: Katya is a visual artists working predominantly in painting and visual art performance. She combines the language and materials of landscape painting, while disrupting traditional readings of this genre. Katya creates her paintings in digital plein air using the bright colour palette. The subject matter is anthropocene landscapes and the formation forces behind them – natural environments affected by humankind. Katya explores environmental disasters in different parts of the world treating these sites as unique nature-culture, landscape-human interactions. In her performance practice, Katya explores alternative forms of knowledge that go beyond thought, to understand the co-relation between body and reality.
short personal biography: I have a Masters of Art in Painting from UNSW Art and Design. I have been exhibiting since 2010 and presenting performance work in the last 2.5 years in Australia and overseas. In my work I strive to be able to find inspiration in and merge my art practice with my other work activities that are not ‘art-related’ – language translation of films about environmental disasters in Russia, work in remote indigenous communities in Australia, cultural heritage research in the Middle East, research into economic circumstances of practicing artists in Australia and so on. I was born and raised in Russia and now live and work in Australia.
The strength and fragility of life fascinate me. I use performance and the physicality of the human body as a vehicle to explore emotions. In particular, the restrictions that life imposes on us as a result of pain or exhaustion intrigue me. As a consequence of a debilitating car accident, I investigate feelings by challenging my body to a point that is no longer comfortable.
Sometimes, in order to confront a barrier, I blindfold myself, or impose a physical and mental constriction such as hanging myself in a harness. This limits me to move freely, for me it shows everybody has a certain background, patterns in life and physical borders, The harness represents this. The choices I make about my clothing or the objects I use, have ceremonial references. For example, when I use charcoal and crush it to dust, it is a reference to a Buddhist fire puja, but also ‘go to dust’ or ‘burn your bridges’. I use elements of Japanese culture to understand a feeling and what this means. When I hang myself in a harness, it refers to hanging oneself, a piece of meat hanging at a butcher’s or a parachutist. By using these ceremonial references as a framework, I research the extremities of physical and emotional duality. I take my very own strong and hard to deal with suppressed emotions and turn it into something graceful and elegant. An example of this is slowly crushing hardened charcoal with my hands, suspending myself from a beam and through the ensuing pain, creating a moving drawing with my feet.
I express my feelings and emotions in a way that it is not only an action but an interaction with the public or surroundings. I want the public to experience a certain feeling so they can open up and relate to their own emotions. If you can show your true colors, your disabilities and be vulnerable in your work, the development of the creative process becomes surprising and interesting. To me performance art is the most direct form of communication. In a poetic way, it enables me to manipulate and challenge emotions.
Danielle Brans was born in Nijmegen, The Netherlands in 1976.
As a child she could never sit still and was always dancing and making things. She has a background in ballet and fashion design. Brans received her BFA in Sculpture at the AKI Academy of Visual Arts and Design, Enschede. She won 2nd prize in the Body Design Contest and exhibited her work at the Centraal Museum Utrecht. She participated in performances of Bas Kosters, in Enschede, Amsterdam, Rotterdam and in New York.
During her years of study in Enschede, she decided to study abroad during her senior year in order to enrich herself and her art. She applied and was accepted to the School of the Museum of Fine Arts in Boston. Having access to one of the few available studio spaces gave her the opportunity to interact closely with fellow students and her art. She kept her focus on performance art, working with specialized instructors and visiting performance artists.
During her experience abroad, Brans did collaborations and presented performances at Boston events such asTest 6 and Mobius ArtRages Performance Festival as well as in New York City at the opening performance at The Politics of Care in the Whitney Museum of American Art. Angela Ellsworth, visiting artist at SMFA, asked her to participate in her performance at Performance Studies International Conference, Brown University, Providence, USA. Brans gave performances and taught workshops at the academy Non Grata in Pärnu in Estonia. Upon receiving a nomination for the Prize of Honor Techno cultures in ART, AIAS International Symposium, Maryland Institute College of Art, Baltimore. Brans traveled to Baltimore to collaborate with other nominees and present/exhibit her nominated work. She continues to work in performance and participates in visual art exhibitions in the Netherlands
A severe car accident canceled any plans to move to the western side of The Netherlands. This car accident made a big impact in her life, it influences particular performances and her concepts.
As an artist, Brans is versatile and works in different media such as printmaking, video, performance, drawing and sculpture. Precision, concentration and persistence define her way of working.
statement, multi media artist and curator / concerned with the socio political and the how and why of living / was on jurgens 2016 workshop / I’m into notion of non performance in what is a performance culture and believe what Beuys said ‘ the greatest art is to be a human being’.
As an artist, I am essentially interested in creative communication between artist and
The importance of interpersonal communication is better understood when we look at
societies that do not make it healthy. In these societies, behaviors such as understand each
other or respect each other are not often encountered, and the limitation of freedoms becomes
normal. When these limits are exceeded, behavior that damages social communication is seen.
Exclusion from society and violence can be given as an example. If you are growing up in
such these society and if you are a woman, living is twice as hard for you. As a performance
artist I am increasing this difficulty a little more. In my work, I focus on the inequalities
applied and negative meanings uploaded against women by society. I am emphasizing on the
woman perception that is being questioned and associated with wickedness (even pure evil)
while trying to exist within the masculine system which herself still can not get an equal
place. The evil woman perception was created as the result of learning the process as if it
were the concept of learned helplessness.
I aim to break down these perceptions with the process in my works and immediately create
an equalizing discourse of perception of woman-man. It is a mission of my performances to
investigate not only the context of woman-man relationship but also to determine a viewpoint
covering all forms of relationship with human beings. Moreover, I think that simple but
intense suffering of daily life should become visible around the identity issue. It is my greatest
desire to create a process in which audiences from all walks of life can understand and
connect with themselves or with the artist or only individually.
Born in Istanbul in 1987, Gamze Ozturk is a performance artist, video and theatre artist based
in Istanbul. She holds BA degree in art management at Yildiz Technical University, where
she studied with notable artists, and curators such as Inci Eviner, Levent Calikoglu and Yusuf
Taktak. She performs with theatre ensembles in many national and international theatre
festivals and theatre halls. The artist performed her first performance project entitled ‘Zone’ (
written and curated by herself) in Venice, Italy. ‘Zone/ Pressed’ was selected as both of the
opening performances in Venice International Experimental Art Festival and Contemporary
Venice International Art Show by It’s Liquid Group. In 2017, she became one of the young
artists selected for the 5th Mamut Art Project who supported young artists in Turkey. Mamut
Art Project is the one of the biggest art organization in Turkey. She relates in her works to
gender and identity crisis, to the alienation that people face and the ordinary suffering of the
individual in daily life. Her recent work can be to manage communication between various
groups and to create a new and unique communication language with the audience.
You can see the written and visual contents of all your work with the links I share below.
Carol Montealegre (Bogotá, Colombia) is a performer, video artist and filmmaker. She works with mixed
media and analog film for the development of site-specific work.
While studying Anthropology, she discovered contemporary dance by chance and felt the need to fuse the
visual arts with the body. Through her training in contact dance, improvisation and physical theater, she
realized that she wanted to develop a conceptual and experimental approach to movement. In 2010, she
studied in Mexico receiving an MA in visual arts for her thesis The permanency of the ephemeral in which
she sought to rescue the existential sense of time as an experience of a permanent present that tends to be
forgotten in our becoming and remembering. Performance is a potent force in that reconciliation.
In her work she desires to do the following:
-Bring together an attentiveness to place, an austere command of physical movement and tension, and a
generous engagement with the dynamics of the personal and impersonal.
-Create an experience approaching collective trance, in which the restrained and finely honed intensity
spills into a heightened intimacy, touching and changing everyone present.
-Improve the ability to affect how others view the world and operate within it with profound endurance and
grace, motivated by a generous approach to human interaction.
-Experience another world together through thought provoking events, overriding the idea of performance,
and causing people to submerge into reality.
-Take challenging political ideas and create beautiful and bizarre still images from them.
-Make objects become extensions of the body rather than filling props.
-Develop the ability to create surrealistic images out of nothing.
She has studied and collaborated as performer and choreographer and film director with artist as Jürgen
Fritz, Elvira Santamaria, La Pocha Nostra, 2 boysTV, Lorena Wolffer, Leo Kay, Julian Zuluaga, Kristin
Reger, Rebeca Medina, Luis Guizar, Lindsy Druri, Tina Dillman, Eric Hoegemeyer, Marshall Astor,
Marissa Magdalena and many other artists.
Her work has been performed on the street, in art festivals, in galleries as well as other non-conventional