intermission
no intermission is a series of three performances created during Marina Abramović No Intermission week held at Royal Theater Carré, Amsterdam. encourage by Abramović spectators become true part of the performance joining and or mingling with performers like Maria Stamenkovich Herranz, Abel Azcona, Mauricio Ianês and Pappas Yiannis to create a true performance.
Royal Theater Carré, Amsterdam. 24 October, 2023.
no one to trust
Reflecting on the request by Pappas Yiannis I purge my sins at #nointermission Wrote them down in the back of a found chocolate folding paper. As shameful as they are I decided not to make them public. Instead I looked out for the most trustworthy performancee. I went observing. Writers are tellers, painters and show offs. I focused on builders: time, dedication, compromise and care seemed good attributes. few where truly committed yet one gain my trust. I asked her if she would keep my secret. with a self-sacrificing attitude told me to hide it among the bricks of her tower knowingly that the integrity of her construction was compromised. She never toke a look but after some time she abandoned the tower. predators came and unmounted it leaving my sins exposed. I reclaim them and burned them this morning so they become ashes carried by the wind as it nothing had ever happened.
god is not here
During Maria Stamenkovich Herranz Building 2 (2022) performancees moved, at their will, blocks from her still in progress sidewalk. After watching some time I found all build upwards and none downwards: what hold the weight, what was beneath didn’t seem to matter. For this performance I sat at Pappas Yiannis The Revise (2022) listening to the throughs performancees had typed. Some where futile, some hypecandid… showing no remorse nor redemption… God was not there. I had some one typed “God is not here” on a found silver foil and went fitted under a brick. Build a tower to signal it. I Then asked Maria to hold my head with her hands for a while to feel and connect with her strength and compassion and bring some sense to the virtue of her servitude. As a sign of recognition I exchanged her dusty used worn-out gloves for new ones and went back to write a poem: “Maria mother of builders” that was read by Pappas Yiannis. By the end of No intermission the tower was unmounted and the true uncovered. I sat for a while at Abel Azcona chair pondering on the statement yet only Maria, despite her exhaustion, approached me and now is the owner of the universal true that came across yesterday at no intermission.
la banqueta de los sueños
When living in Ciudad de México I came across how middle class had abandoned the streets: walking was a rare rare thing left for the ones that did not owned a car, meaning certain income. Pavement was for the underclass and therefore neglected. The lines and dreams of millions where as unattended as the pavement that toke them to work or back home. At No intermission, Maria Stamenkovich Herranz struggles to build a pavement at Building 2 (2022) yet this time is not nature but performances that keep moving blocks to adapt the pavement to their desires. For my performance I select a performances that consciously wanted to express something at Mauricio Ianês crossfire (they toke a brush and paint) and have them write the side of several blocks unreachable basic needs in Mexico such as education, health, freedom, water, safety, gender equality… and place this blocks in Marias pavement. Through out the 6 hours that lasted No intermission I tracked those blocks. Some where found and explored and left again, used for other performance, displaced, other went missing other open up conversations.
