domingo, 15 de noviembre de 2020

PEPA ONLINE noviembre 2020

En la charla posterior a la performances contaremos con la participación de BARRY KOSTRINSKYpresidente de ATOA Artists Talk On Art

Photo: Jessica Smith


2000 graduated from Royal College of Art London in 2000 (MA),Goldsmiths' College in 1994 (BA). 2000-2003 Picker Fellowship Award Kingston University. Art foundation and studio Germany 2005-2020, organizing international Performance Art Workshops/Residencies, producing international performance art event transitstation started in London 2003, Berlin 2005, Edinburgh 2006, Copenhagen  2010. 2002 – 2017 Senior Lecturer Kingston University, London specializing in Performance Art, 2004 – 2020 international/national Live Performances/Exhibitions


The proposal of “ The Purge of Painted Desires “ as a zoom performance for November 22, 2020 PEPA online event will further research its visual extensions with the contradictions of appropriations towards a virtual presence. It endures the location, yet is discovering corners to become potent spaces, stripped of their function to have been a room corner, surfaces which appear as flat canvas by first impression, transform into the scape zone of the middleground of painting or seen in Zen Master Eishu’s Landscape drawings, become the definitive only for a brief moment before it escapes.

The idea of escape returns with the aspect of desire. The centre of attention may dissolve as the virtual, flat screen is not infinite in its corners. Who, may I ask is the viewer of the edge?

Instagram: glausnitzerthesmith


Photo: David Wong


Tatiana Koroleva is a multi-disciplinary artist and researcher who works in the mediums of performance art, video art and creative writing. Living and teaching Studio Arts in Montreal (Canada), Koroleva explores intersections of art practice and theoretical research in cultural anthropology and art therapy. Focusing on participatory aspects of performance art, Koroleva reinvents ritualistic practices in the context of late-capitalist societies.


My work focuses on therapeutic aspects of performance art and the process of community formation through the methods of interactive performance. Conceptually, my work engages with the subjects of ritual, transformation of individual subjectivity and formation of alternative models of the body and the self in the framework of ritualistic performance art. Engaging my audience in the communal action I search for the ways to reconstruct the notion of the collective body associated with the folk models of the self. I am interested in exploring the possibilities of sensual communication through touch, smell and sound to unfold the therapeutic quality of collective ritualistic practices. Intimacy of emotional and physical experiences is the starting point of my performative experiments. I search for the ways to transcend socially-constructed models of individuality promoted in contemporary late-capitalist cultures and to create new mechanisms of formation and reinforcement of community through the means of ritual. 

Foto: Vanesa Palomo


Víctor Ripoll nace y vive en Madrid. Es licenciado en Comunicación Audiovisual por la UCM y en producción por la ECAM. Desarrolla su trabajo artístico a través del videoarte y la performance.


El videoarte y la performance como defensa del ataque constante al que somos sometidos y la respuesta al por qué.

Trabajo sobre temas que asumo como cotidianos y de actualidad, pero que en realidad son extraordinarios en nuestro día a día.

Exprimo la complejidad del tema que me interesa hasta que consigo un concepto a priori sencillo con el que poder trabajar y llegar al máximo de espectadores posibles. Deseo poder encender el interés y la reflexión sobre lo extraordinario que nos rodea y que hemos dejado de ver. Es necesario dar un golpe en la mesa y hacer un arte que nos posicione en la sociedad de la que formamos parte. Soy parte del problema pero también de la solución.

Instagram - @v_ripoll

lunes, 9 de noviembre de 2020

PEPA ONLINE octubre 2020

"Clear sight. 1/6 senses: to my ancestors"

María es mi bisabuela paterna, nació en 1885 y murió a principios de los años ochenta con 93 años.
La recuerdo entre olores a campo, colores y sol, muy pequeñita pero con una fuerza y resistencia indescriptibles.
Crió dos hijos que no eran suyos y también crió junto a mi abuela, a sus propios nietos. Las dos solas sacaron adelante a mi padre y a sus hermanos. Uno de ellos, siendo muy pequeñito, falleció.
Mientras mi abuelo, sanitario en Belchite, Brunete… sobrevivía a la Guerra Civil.
María amaba las flores, pastoreaba sus semillas, las cuidaba y recogía en su cesto ovalado. Después las floristerías se las compraban. Así, entre flores y pobreza, tomaba café de malta y algún vasito de vino tinto, cuidaba los animales y a su familia.
María le llevaba cómics y periódicos (de segunda mano) a mi padre, su nieto.
Ahora, con 46 años, miro al cielo y detrás de mi hombro.
Me lavo los ojos mil veces.
Abuelica María.

Maria is my paternal great-grandmother, born in 1885 and died in the early eighties at the age of 93.
I remember her between the smell of the countryside, colours and sunlight, very small but with indescribable strength and endurance.
She raised two children who were not her own, and also raised with my grandmother, her own grandchildren. My father and his brothers were brought up by the two of them. One of them, being very little, died. While my grandfather, as sanitarian in Belchite, Brunete... survived the Civil War.
María loved flowers, grazed their seeds, cared for and collected them in her oval basket. Then florists bought them from her. So, between flowers and poverty, she drank malt coffee and a glass of red wine, took care of the animals and her family.
María brought comics and newspapers (secondhand) to my father, her grandson.
Now, one of her great-granddaughters, 46 years old, looks up at the sky and behind her shoulder.
I wash my eyes a thousand times.
I repeat.
Abuelica María.

Behind the mask is?

Foto: Spike Mclarrity

The artist Spike is a conceptual duration based performance artist, based in the London UK more famously known as the Barnes White Rabbit, which the UK press outed the artist behind the mask in 2016.  This then led Spike to explore the idea of who we are behind the mask, using the rabbit as a way to explore the expectation of others who they think we are.  In today's current situation with the world wide pandemic it has forced predominantly everyone across the world to wear masks, to cover up and hide part of your face.  The performance now takes on a new conversation, what does it mean? As well as feeling a sense of restrictions, isolation and fear of the unknown, creating physical barriers between you and others, behind the mask and behind the screen. 

Our carefree life is now controlled by our Governments, our freedom, liberation, individuality is constantly being questioned, infiltrated by the fear that if we do not wear masks, we will die.  So where does this leave us as creative human beings? What is in store if we break the rules?  In March/February 2020 Spike travelled with a group of international artists for two weeks throughout Japan, as part of The Nipon International Performance Festival (NIPAF) during the start of the Pandemic, they experienced at first hand the restrictions that was coming towards them like a fast train, the fear had begun to set in, each artist worried about what was going to happen when they returned to their countries, what did it mean to isolate for fourteen days?  In September Spike began to resurface as the UK came out of lockdown, some restrictions were lifted, but there was still a lot of control being inflicted on people.  Spike was invited to attend IMAF (International Multi Media Art Festival) in Serbia.  After consulting with the UK Governments advice about travel, Spike was told not to travel unless it was "Essential"  There is actually no definition what this actually means, what it really comes down to is "Insurance" who is going to pay for your medical bill if you fall ill while travelling in another country? There was nothing positive on the site about Serbia, it was extremely negative, with what could happen if you travel, which is designed to evoke fear and doubt, and make you stay at home.  As an artist it is Spikes duty to question these things, it is also important to check out first hand, what is the truth about the information we are being spoon fed?  

Spike decided that it was important to travel as an artist it was essential for his mental health, well being and soul, his experience of Serbia was nothing like what is being portrayed by the UK Government, in fact, it was the opposite.  It turned out that Spike was the only international artist that actually made the trip as the others decided it was not safe to travel to Serbia.  Spike was asked to take part in Pepa with their on line performance, as the restrictions are becoming more serious again, and possible localised lockdowns are being introduced in the UK, which will prevent any travel in the coming weeks.  Taking part in Pepa is also an opportunity to have this discussion, what are our expectations of another? What kind of experience does meeting someone online via zoom, than seeing them live in the flesh? This performance behind the mask is? is a way of having this discussion.  In November 2019 Spike took part in the IAF (The Islamabad Art Festival) where he was presented with an award for his piece "behind the mask of white rabbit is?"  Spike studied Fine arts at Kingston University and graduated in 2011 and also studied a Master Degree in performance and visual practices at Brighton University where graduated in 2012 receiving a distinction.

(Instagram) barnes_white_rabbit

Tomasz Szrama

Foto: Abel Loureda

Foto: Chen Yang

Tomasz Szrama es un artista de Polonia que vive en Helsinki, Finlandia. Ha participado en numerosos festivales en todo el mundo. Sus performances se basan en la interactuación con la audiencia, por lo que hoy va a ser la primera vez que realice una performance online, un nuevo reto para un artista que tiene una larga experiencia, no solo en el campo del arte de acción.

Tomasz Szrama is an artist from Poland living in Helsinki, Finland. He has participated in many festivals around the world. His performances are based on interaction with the audience, so today is going to be the first time that he performs online, a new challenge for an artist who has a long experience, not only in the field of action art but in many others.


¿Qué tan poderosa es la gravedad del ego de un artista marginal que simplemente trabaja a escala humana en baja resolución, recortada por una cámara web?

Esta fuerza aparentemente insignificante podría resultar altamente destructiva al unir fuerzas con el planeta.


How powerful is gravity of a marginal artist’s ego who is simply working on a human scale in low resolution, cropped by a webcam? 

This seemingly insignificant force could be highly destructive when joining forces with the planet.