historyreloaded04

historyreloaded03

HOMEPAGE

15 IMPACTS

2015Performance

15 Impacts is a performance and a setting. Those stones represent the debris of buildings shelled by bombings as well as the ruins of buildings demolished to allow new constructions. It is like a ritual performed in the gallery space to re-enact the history of wars, re-appropriating history.

How did you enact this performance?

What I did was taking buckets full of stones and trying to have the biggest impact on the ground that I could. It can be seen as a sort of action painting made with stones. It is really beautiful because when you look closely at the debris those stones look like planets organised in galaxies; they create a sort of cosmology.

Would you describe this as a destructive act?

I would say that it is an empowering enactment. We are brought up to build in a positive sense, to be architect to create things, to implement new forms into the world. The act of destruction has been experimented by artists since ever. Most of the time the actions/performances were linked to self-inflicted violence and meant as acts of catharsis. In the case of the impacts, the act of destruction has nothing to do with shame, nor with self-inflicted violence. It is actually a very joyful response to the way I see my situation in collective history, which is very much disempowered. These impacts are a re-enactment, a ritual to change the position in which we are in history. Instead of staying under the impacts I create the impacts. Although this ritual is carried out in an individual dimension, it is connected to a greater collective question that is presented throughout this narrative, which is: what can we do? Can we still write history or are we condemned to be submitted to war?

What does the number of impacts signify?

The number of impacts celebrates the current number of years in the new century. Each year represents one more impact. The ambiguity of this performance lies upon the way one looks at these first 15 years. It has been a time of violence and war – I am thinking about the conflicts in the Middle East – and at the same time one can consider the events of these years as a demonstration that History can still be written, that there are still historical events happening for good and for bed that are intrinsically linked.

Why starting with the beginning of the 21st century?

I am interested in historical cycles. I have been trying to understand what does it mean to live in between two centuries. We are born at the end of something and we are experiencing the becoming of something else. We have enough scenes from the end of the 20th century and we have to reconfigure ourselves to what is coming. What transitions are we responsible of? What shall we forget of the past century and what should we keep and transmit? I am moving from one extreme to another: I try to flee away from the ghost but I also want to empower it by making it speaking for the present time instead of standing as usual for the past. Maybe the ritual of the impacts is on the side of welcoming. It states that I recon that there is something new happening, there is something new to write but at the same time it affirms that I am not born in this century and that I’m searching for the right movement by which I can welcome this new century and at the same not cutting myself off from the time when my body and thoughts developed which happened in the 20th century.

Share on FacebookTweet about this on Twitter

< Back to all Works