Christian Bujold is a multidisciplinary artist interested by performance, intervention, manoeuvre, video and drawing in order to explore the various relations between bodies, spaces and contexts. Since the beginning of its artistic practice, the ideas of traces and apparitions of the body are central. Through different strategies of incarnation, dissimulation, representation, interrelation and responsiveness, he seeks to engage participants in instinctive and somatic experiences. Those opened performances unfold without scripts as the outcomes are determined by the engaged relations.
He tends to explore different themes like death, memory loss, disappearance or evanescence of the mind and body, the search of the self through the search of the other or the capacity of the body to act upon his environment. He likes to deal with the notions of effort, endurance and to work to execute given tasks in order to jeopardize the idea of control. Christian Bujold wishes to question everyday behaviours and interrelations in order to explore their psychological roots and to «defocus» our habitual perspectives on daily life.
Because of hair; the dichotomy of culture and identity, image by Rosie Cooper (rxcrose.com)
Chinasa Vivian Ezugha is interested in history and how history is performed in the mundanity of everyday living; for her, performance is an embodiment of past, present and future experiences.
Born in Nigeria, Enugu state in 1991, Ezugha makes work that connects her to her cultural heritage and to questions about her identity as a black woman living in England. Vivian is an interdisciplinary artist, working in Live Art, film and drawing. Having graduated from Aberystwyth University, School of Art in 2014, she currently lives and works in Norwich. Ezugha’s work has been shown in New York, Berlin and she has performed in venues across the UK. She is the founder of LIVE Art in Wymondham, a new platform for artists working in Live Art.
“There’s a stage where the gothic and the erotic play together. This stage carries a drum shaped like a human. This drum when beaten terrifies the strongest men and stops the gaze of them that pass by. The drum holds a secret that is revealed in its concealment. It dances with the truth and shapes the knife that cuts the womb of history. In its rawest form, it is just a clay pot but when filled with the stories of mankind it becomes the sound of war. Sometimes the drum speaks to the individual, other times it speaks to the mass.
Aha m bụ Chinasa Vivian Ezugha na m na drum. (My name is Chinasa Vivian Ezugha and I am that drum).
As a black woman living in the UK; hair plays an important role in the way I see myself in relation to my peers. Coming from Nigeria at the age of 8, I was astonished to see the differences in the visual representation of hair across cultures. The length, texture and style portray an image of difference in relation to my own hair, which was shaved. In many ways hair symbolises a process of rejection and acceptation. Philosophically hair in African culture is used to represent social and economic power; as a material that is constantly malleable by human hand, hair becomes an object, subject and a symbol of identity and culture.”
Larysa Bauge is a performance artist raised in Belarus and currently based in the Netherlands. She graduated as a multi-disciplinary performer from T.I.M.E. department of the Royal Institute of Arts, the Hague.
Bauge’s artistic practice is characterized by its diversity. She was trained and worked as an orchestra conductor with such collectives as Malaga Philharmonic Orchestra (ES), the New Ensemble (NL), NEuverband (CH). She composed scores for dance and theater and worked as a DJ. She is also experienced in a theater field as an actress and participated in such festivals as Culturescapes (CH), Arena (DE), Stukafest (NL).
However it is the personal life experiences that she naturally cherishes the most : “By the age of 21 I ran away from the country, lived as an illegal immigrant, got married and divorced and experienced life on the streets. All that – while studying “the glamorous profession” of an orchestra conductor “.
For the past years her practice focuses on performance art as a way of combining past experiences and escaping the dogma in arts. Her most recent performance happened in Indian Himalayas, where she created a long durational piece on possible connections between nature and culture.
Meri Hietala is an multimedia artist currently based in Kouvola, Finland. She creates performances, site specific installations and sound art.
Hietala has exhibited in solo and group shows and created public installations, sound art and performance art actions in Europe and Australia since 2006. Over the years inspiring materials and such have been random found objects, wastelands, off cuts, dirt and organic ones (plants, humans, fishes) as well as fresh and endangered sounds. She explores inner and outer environments with physical and acoustic methods, and is working for the earth.
“For me the action is exploring the visible and touchable landscapes of mapped trails and reaching beyond these societal tracks. Sniffing the story lines, composing auditive and etheric cosmograms, celebrating the diversity.
My mission is to challenge the structures, imported restricting behavioral manners for all the living hybrids, with time and squeeze I let this borrowed multi-sensorial temple to sink and introduce possible unions with the eternal patterns, movement and systems.
Be – longing
Another kind of dream state. This applies in various levels when creating sounds and performance. At times these actions can be installed into material communication.
I’m an international artist and curator concerned with the socio-political and the ‘how and why of living’.
I have exhibited across the UK and in Germany, Mongolia, Italy, Netherlands and Russia. Also an independent
curator, and Director of Agency – Art, Life & Society an international curatorial project. My artistic practice
embraces action, performance, photography, text and book works, graphics, map making, installation, sculpture,
art pharmaceuticals and mixed media. Over recent years actions, performance and photography have assumed
increasing importance in my work.
Roos Hoffmann Performance at P.S. This is Life! The Hague
My aim as an artist is to interact with people and with social expectations at different locations. This results in site-specific work that often involves interaction with the public. In my performances I arrange people, often in a minimal way, and give them instructions to hold certain positions. This results in durational performance that last sometimes a few hours. My work is in public space as well as in art galleries. The performances are like still-lifes, with no speech, and only a minimal of movement.
The interventions or actions are partly improvised. They are based on a plan, but are determined by whatever happens at the specific moment. The instructions I give to people are limited; do not talk and do not move. It is not an order they have to obey, it is more a suggestion I offer. The individual freedom of the participant stays intact.
My aim is to create moments of reflection. I am interested in the human body and their relation to the surrounding environment. By getting visitors and public out of their routines I hope to create a new experience of their spatiality. As an artist I want to re-own the space, and determine a new way of behaving. The performances can be seen as ‘existential choreographies’. They raise questions like; who am I? What is my place in this world? And how do we relate to ‘the other’?
Jolanda Jansen (NL) graduated from the Royal Academy of Art in The Hague (2005) followed by post graduate studies at the Dutch Art Institute in Enschede (2007). She is founder and organizer of Performance Site P.S.; performance art events in The Hague. In her carefully constructed but direct performances and video installations, Jolanda submits her body to various transformations, or rather deformations, to engage with the possibility of self-reinvention and release from cultural determinations. She strives to disorganize and transform her own controlled body and engage with issues of voyeurism and gender power relations. Her approach to performance art is finding a balance between the creative process of studying material in relation to the body in movement, this opposite testing the limits of the body and its uncontrolled stage. In her latest performance series Paper Study’s #, the basic material paper, that refers to our mind, is in contrast with the intuitive body. In this way she creates poetic, out of place / surreal and sometimes disturbing images. “Paper doesn’t interest me because of what it is, but more of what it is not. Some say paper is a blank sheet, something that could become something new, or even a new beginning. You can’t erase your features, or your background. A body is harder to transform than paper, that’s why I like to use paper. It can be strong and fragile like a feather. It has the promise of meaning. I prefer to bring it back to its basic nature, to use it as a natural material, something that was alive, like coming from the wood of a majestic tree. It’s the same in how I like to go back to what it is to be human- our cravings, shame, fear, anger etc, but we usually don’t reveal so much.” In 2009, Jansen was selected to participate in the Mentoring Program for emerging artists and curators of Cultuur en Ondernemen where she worked with as mentor, the artist Ulay. Her video and performance work has been featured internationally among others at Gasometer Oberhausen (Germany), Nan- Hai Gallery (Taipei), Residency Unlimited New York (USA), Witzenhausen Gallery New York (USA), Scope Basel (Switzerland), Cel 32, Berlin (Germany) Arnolfini, Bristol (UK), CREATurE Live Art Festival (Lithuania), NordArt (Germany), Warsaw International Performance Art Weekend (Poland), Solyanka Gallery Moscow (Russia), PAO Performance Art Oslo (Norway), Performance Crossings (Czech Republic), Venice Performance art week (Italy).
Topp & Dubio is a multidisciplinary artist duo who live and work in The Hague, The Netherlands.
Topp & Dubio study and scrutinize reality from a conceptual starting point, often arising from sudden moments of curiosity and a desire to explore parallel worlds. Their projects flawlessly deal with fact and fiction, the concept of art and daily life, the personal and the public, observation and participation, authenticity, history and documentation, the romance of imagination and the absurdity of reality.
Since the start of their collaboration in 1995, Topp & Dubio have shown their work in The Netherlands, Belgium, United Kingdom, Germany, France, Italy, Spain, Portugal, Brazil, Indonesia, Cambodia, United States, Canada, Poland, Latvia, Romania, Russia and Ukraine.
As an artist duo we attempt to disclose an essence that emerges from the
interplay of subjective and objective contact in minimalistic
performances. The apparent contrasts between opposites, such as ratio
and emotion are fascinating, because the way each person deals with them
differs and yet is similar at the same time. We try – try, because we
too are just human beings – to omit every distraction, for external
factors already exist in the spectator’s perception.