
Adam Patterson, Study for Transgressing the Atlantic, Barbados, 2016.
Kooi
Lydia Schouten, 1978, 17’41’’
For this live performance, Schouten has shut herself in an iron cage of about two by two metres. Coloured crayons and chalks are attached to the bars of the cage, at equal distances from each other. Schouten is dressed in a tight-fitting white ballet outfit, which she rubs against the bars to colour herself.
In the documentary De vernietiging van het valse vrouwbeeld/The destruction of the false female image (1978), Schouten tells us that she used the performance Cage to make a comparison with those women who, at that time, were stuck inside their homes, spending all their time running their households and looking after husband and children. It was not that they did not want to get out into the outside world, but they did not know how. When they eventually vetured out, female participation in a male-dominated society turned out to be impossible. Bearing this in mind, we see how the performance runs parallel to the experience of these women.
Initially Schouten moves about the cage in a composed and self-conscious manner. Her movements are elegant and controlled. This refers to the women who were content with their role in the home, because that was all they knew. During the course of time, woman began to feel more and more closed in and stifled by their four walls, while at the same time there was growing excitement about the idea of getting out. They were literally and figuratively preparing to start exploring the outside world. At this stage, Schouten is moving faster and more wildly about the cage, looking for a way to escape. Meanwhile, the colours are spreading over her clothing and body. After the fiasco, the frustrations strike home. The women have found out for themselves that home was the only place for them. The question of whether this will ever change causes a panic. After running around the cage like a desperate maniac, Schouten collapses in the middle of the cage, totally disillusioned.
(Esther Kunkels)

euo:
Confession
A collection of eight confessions, hand written and court transcripts, of convicted criminals. It is then reduced to only those sentences were the criminal is talking about his or hers own emotions. The perpetrators personal landscape of guilt is revealed with no descriptions about the actual criminal act. The most extreme act of violence contains something that we can all recognize in ourselves; the inner psychological patterns of reasoning and justification, remorse and/or the lack of it.
Ignas Krunglevičius
Oh man. What a lovely comment. I don’t generally post the text of my writing, because I am shopping my work to publishers right now and any prior publishing is frowned upon, but here is a link to an audio recording of the first section of my collection, The Orchard, with some weird sound effects.
Again; thanks so much. I have scant ambitions toward fame, but I do have aspirations to achieving some sort of emotional and intellectual cogency, so this note made my night.
Lygia Pape’s Eat Me (1975)