Nadja by Breton
4:30 from 23.48 min, live Performance, Fischer Landau Center, New York, 05.02.2010 (low res/viewing copy)
In the live performance Nadja by Breton Marcin alludes to the topography of desire embodied in Breton’s story. Whilst balancing on a wooden construction inbetween two tress, she reads an Ecriture-automatique about a walk through the city of New York, explaining feelings of alienation towards a public space that is no longer social but commercial. As she steps closer and closer towards the center of the wooden beam, holding on to a single leaf of a tree, the beam starts to wabble and shake increasingly. Consequently, an enormous tension enfolds within the audience. Suddenly, the beam breaks into two pieces and Marcin lands an a gigantic sculpture that has been installed on the ground, covering only a small part of the center. Hence, a man from the audience starts to scream: “Call 911. Call 911. Why is noone calling 911?” Marcin's performance raises questions of social communication and accountability to the design and usage of a public, social and personal space as an immanent principle of life.
Nadja by Breton
Performance – 2010
21.23 min
In the live performance Nadja by Breton, Marcin alludes to the topography of desire embodied in Breton’s story. Whilst balancing on a wooden construction inbetween two tress, she reads an Ecriture-automatique about a walk through the city of New York, explaining feelings of alienation towards a public space that is no longer social. As she steps closer and closer towards the center of the wooden beam, holding on to a single leaf of a tree, the beam starts to wobble and shake increasingly. An enormous tension enfolds within the audience. Suddenly, the beam breaks into two pieces and Marcin lands on a gigantic sculpture that has been installed on the ground that covers only a small part of the center. Hence, a man from the audience screams: ‚Call 911. Call 911. Why is noone calling 911?‘ Marcin‘s performance raises questions of social communication and accountability to the design and usage of a public, social and personal space as an immanent principle of life.
Nadja by Breton
4:30 from 23.48 min, live Performance, Fischer Landau Center, New York, 05.02.2010 (low res/viewing copy)
In the live performance Nadja by Breton Marcin alludes to the topography of desire embodied in Breton’s story. Whilst balancing on a wooden construction inbetween two tress, she reads an Ecriture-automatique about a walk through the city of New York, explaining feelings of alienation towards a public space that is no longer social but commercial. As she steps closer and closer towards the center of the wooden beam, holding on to a single leaf of a tree, the beam starts to wabble and shake increasingly. Consequently, an enormous tension enfolds within the audience. Suddenly, the beam breaks into two pieces and Marcin lands an a gigantic sculpture that has been installed on the ground, covering only a small part of the center. Hence, a man from the audience starts to scream: “Call 911. Call 911. Why is noone calling 911?” Marcin's performance raises questions of social communication and accountability to the design and usage of a public, social and personal space as an immanent principle of life.
EXHIBITIONS
S: Solo Exhibition | G: Group Exhibition | Sc: Screening
Middle Gate Geel’13 at Kunsthuis Yellow Art, Geel, 2013 (G)
MFA Thesis Exhibition, Fischer Landau Center for the Arts, New York, 2010 (G)
