Performative Installation – 1 Shanthi Road, Bangalore, Indien, 27.-29.5.2016
Die Performerin folgt spontanen Impulsen, Schönheit entsteht aus einer Reihe unvorhersehbarer Un- und Zufälle. Der Raum, der sich den Besucherinnen und Besuchern im Verlauf der drei Tage bietet, sieht immer anders aus. In der Arbeit geht es um die dauernde Verfertigung und Auslöschung von Bildern, die in einander übergehen. Um das Werden der Dinge und ihre grenzenlosen Möglichkeiten.
Die Kombination der Materialien, die wir nutzen, ergibt in sich keinen Sinn und erzählt keine Geschichte. Die Betrachterinnen und Betrachter müssen selbst einen Sinn finden, wenn sie ohne Sinn nicht auskommen. PROCESSING\BANGALORE ist eine Feier des Scheiterns und der Triumphe des Alltags, von Sinn und Unsinn, des niemals endenden Prozesses des Lebens selbst.
Eine Videoinstallation mit dem Titel GERMANY hat die Performance ergänzt.
In a performance of nine hours, spread over three consecutive days, the performer Elisa Duca manipulates objects found in Bangalore. She creates layers of different systems of order, an ever-changing order and disorder of things in a Work in Process.
The performer follows impromptu impulses to create beauty from a series of accidents on the spur of the moment. The space that viewers encounter in the course of three days never looks the same. The work is about the constant production and deletion of images blurring and merging into each other. It is about the becoming of things and their infinite possibilities.
The combination of the materials we use does not make sense in itself and does not tell a story. Those who watch have to find meaning in the process by themselves, if meaning is what they need. PROCESSING\BANGALORE is a celebration of everyday failure and success, of sense and nonsense, of the never-ending process of life itself.
The performance was complemented by a video installation, titled GERMANY.
KONZEPT: Elisa Duca, Robin Detje / PERFORMERIN: Elisa Duca / VIDEOKUNST, OUTSIDE EYE: Robin Detje / ASSISTENZ: Ann-Sophie von Schwartzenberg / DOKUMENTATION: Vinay Ghodgeri, Sarah Klare, Charlotte von Thaden, Robin Detje
Dank für ihre Unterstützung an: Suresh Jayaram, Sandeep T.K., Umesh Kumar, VAG Forum, Christoph Bertrams, Maureen Gonsalves
Read the portrait of bösediva in THE HINDU.
Read about PROCESSING\BANGALORE in the BANGALORE MIRROR.
Read this article by Suresh Jayaram, curator and teacher in Bangalore and head of 1 Shanthi Road, on bösediva:
„The unpredictable act of surprises / Making place for Maya
Spring blossoms into the big city as trees permeate a variety of colors into the landscape, creating a big contrast to the unbearable heat in the crowded market places and infuriating traffic jams that are also as much a part of Bangalore – the big city. bösediva uses Bangalore as their muse, choosing objects and materials found throughout the city for form, color and function; objects such as plastic scrubbers, coconut scrapers and statues of Indian gods are exposed along with other hopelessly useless items that are so intrinsically Indian that it creates intrigue despite of their insignificance. Be open to the unholy marriage of the visuals and the performance. This is the expectation.
There was no reasoning but only intention. The randomness of the process was also open to improvisation while intent was balanced by acts that were unexpected. Chance encounters with the materials and objects on display created chemical reactions and movements of the body – bodies of Robin Detje and Elisa Duca – the team of bösediva. This duo is the ying yang of this open-ended act, a controlled yet chaotic stream of actions of making and breaking.
Elisa moved around the studio/gallery arranging materials and performing the actions of the process rather than creating an end product. It was “Lila” – a play – larger than life. The actions with matter created a series of gestures like the cosmic dance of Shiva that illustrates the creation and destruction of life. These actions piled up on the floor like a messy aftermath of an explosion. The studio became an alchemist’s laboratory, an experimental kitchen, and an arena for an absurd and unscripted play. This cyclic action is open to interpretation as a multimedia performance.
The energy of the couple was amazing; they worked together against all odds as chaos thrived, creating movements that were nonlinear and unpredictable. The unexpected was expected. The act was like a fractal-never-ending infinite pattern, a dynamic system. Chaos became essential to explore the unlimited possibilities of creative actions and reactions. Revel in the Chaos. Revel in bösediva.“