Roodkapje presents: Reality✓Check
Lecturama: AUTARC by Nikki Ootjers & Hinde Chaâtouf
Performance: INTERVENING SPACE: My Self, the fetus by Lisette Ros
Dinner by FOODIGANS "Sugar-Coated Food-Bombs":
18:30-20:00 | €10 (*limited capacity, presale only: https://roodkapje.stager.nl/web/tickets/72821)
Click here for the Facebook-event.
You could say it takes a wild imagination to picture a truly open society - one where freedom of expression and democracy are paramount, and where no one holds a monopoly on the truth. Envisioning such a world is the starting point, and often it is the arts that make manifest that vision, lending form to our goals and ideals.
Art can have an amazing power to foster collaboration between different societies, such as the cooperation between artists from conflicting peoples or touring art shows that bring real-world issues to distant populations are essential to raising levels of understanding between cultures.
The idea of continuously supporting arts and cultures in order to propel the ideals of open societies forward and highlight art as a powerful tool for its simplicity. It can convey ideas across classes and cultures due to its lack of reliance on language or written language. This makes it one of the most compelling tools of communication. It is almost limitless, unlike verbal communication which faces obstacles such a language barriers and time restraint, art can traverse time, culture, social class and the in-between.
Art has long been a tool of protest and an inciter of social change, For example, popular street artist, Banksy, has tirelessly plastered images in many of the world’s major cities in an effort to draw attention to environmental issues and poverty.
Building a personal Utopia through ART, the creation of reality whilst merging different mediums of ART and the self. The dream of self-sustainability and open society.
AUTARC: What it was, is and little about what all of this it will be.
The journey begins with AUTARC; We have to look at art when we discuss difficult matters on how to design a society because Art has no goal outside itself and is not focused on growth, it just is and here lie the answers in creating a better and nicer world to live in.
Key question: How is a society built and what role does art play in this?
Project: Travel through Europe and research various off the grid societies.
Nobody likes a drained resource. So, yeah, let’s raise our hands for awareness. However; If it’s still the big companies who reign, and if their customers buy their fictively conscious products, then what does that say about the people // society? Are they consuming the reel deel or are they munching mere illusions? Hipster debate leads us to a daily discussion about the genuine and the hypocrite. But do we actually even care?
A lot of people are into self-sustainable living these days.
Most persons to whom we’ve told about our plans concerning Autarc, reacted very enthusiastic and supportive, almost as if we’d told them we would go off to a third world country to get engaged in charity work. However, it almost feels as if this dream of utopia is sufficient, no need for the actual deed. Because in fact, if we take off our rosy coloured sunglasses of the future, in real life most of the inhabitants of the communities we visited are just busy with surviving.
Life off the grid is pretty hardcore. It is certainly not suitable for everyone to shit in a ditch and wash themselves in a hospital-waste-river along dancing water snakes. We found that life in the boonies leaves little space for autonomous arts. If there ever will be such a thing as functional non-functional art, like a holy merge of applied arts (design) and fine (autonomous) arts, at best life and living itself could be turned into an art piece.Until that happens, our new nihilist selves feel that it’s just very pretentious and naive to think our abstract art-ideas about society will make the world a better place. But as long as we don’t try to ‘teach’ others how to live their lives, the main concept of the arts, creating reality, still contains massive value useful to any person who would like to build their personal Utopia.
When we arrive in a squatted village in the South of France, LaValatte, our transformation is complete. Exit the heat and hippies, enter the beer and punk. Here we truly become cynics and it feels good. We do not tap into The ‘’Dream’’, or are disappointed by the unexpected outcome. We relish in this forest and burn all moral obligations. We pick mushrooms that we cook, someone hunts a wild pig and makes paté we steal cheap red wine we shit in the woods and we don’t wash our hair we read books and fall in love. This is Neo-Nihilism. Now we’ve figured out what this project is about. AUTARC is not a research on how to build a society and what role art has to play in this? It’s a project about an artist's journey with a fashionably heightened sense of moral turning back to what really matters. Doing, always acting and doing even though you fall flat on your face and the doing and acting entails making stupid french jokes all day in the back of a truck.
Lisette Ros : INTERVENING SPACE: My Self, the fetus
" I use the convention of sitting and my sitting experiments as a research method to question the Mode of our society – what is happening now – it is about the identity of our contemporary society as opposed to my own identity; how I communicate and position myself. Thus, I ask questions by literally doing. "
INTERVENING SPACE: My Self, the fetus is about my conceptual and visual interpretation of ‚the Self’ and identity. During the opening of the exhibition ‚Gewoon lekker jezelf zijn’ I did a four hour live performance where I expressed my vision on ‚the Self’ and the identification process.
During my desk research I discovered that ‚the Self’ and identity to me are two components, which are complementary, deriving off each other. I concluded that in the current society a human being can only have a sense of self when the identification process has not started yet, and therefore when there is no self-consciousness yet. The identification process fully starts when a baby is born; everything we do, learn, see, accept, define, judge, label [etcetera] is based on other people’s vision. As Georg Wilhelm Friedrich Hegel stated: „De erkenning door de ander, ligt aan de basis van ons zelfbewustzijn” [The recognition of who we are, is defined by our self conscience as it is defined by ‚The other’] and thus when other people start to recognize/acknowledge us, the process of self-consciousness [identification] starts.
The start of our identification process means decreasing the sense of self and, again, begins at the moment that we are in the last state of being a fetus to the moment that we are born. As Arthur Rimbaud sharply stated: „Je est un autre” – The I is someone else / I am someone else – the I is created through other people’s view/eyes. After we’ve lost this self, we will be constantly performing [other people’s vision on us] throughout our lives.
With these discoveries and thoughts, I created my long duration performance work ‘INTERVENING SPACE: My Self, the fetus.’ Within these four hours I tend to show the double-quick process from fetus to the start of identification through covering my naked body with a material that went from a shiny liquid substance to a fixed coating evolving at the end into a cracked, flaked, loose layer as the people [and thus influences] started coming in and watching me in the gallery space. This represents the aspect of decreasing the sense of self from static [the fetus and self] to dynamic [others] to breaking up [influenced self-consciousness], and shows how ‚the Self’ and identity are two different components that are connected and strangled in a prolonged reciprocity.
FOODIGANS - “Sugar-Coated Food-Bombs” -
The role of self-sustaining yourself with the necessary means. A collective watering hole with a variety of tastes, functionalities and aesthetics. “Sugar-Coated Food-Bombs” will be a dinner that touches on the idea of colliding worlds and collectiveness. As diners you will experience different levels of eating together as a collective in the same space but also the difference when you dine together but in your individual space, and finally how aesthetics can be a big part of how you treat and look at your food before consuming it.
The dinner will be an experience of collaborative energy yet also the individual private space within the collective. The journey starts with challenging one another to partake in consuming the feast, then slowly turns to a private dinner with less emotions towards one another and finally the role of ART in food and its aesthetics.
“Sugar-Coated Food-Bombs” the creative dining occasion that shouldn't be missed!