All the World's a Stage part IVa exhibition (Nienke Sikkema, Emilie Ruitinga) and part IVb the performance program (Natalie Fyfe, Katerina Sidorova) focus on "the stage" as a possible place for creating and recreating stories, lives and identities, reversing an inner world stage into an outer (public) world stage and vice versa. It also examines the fragility of the human body and the exposure of one's intimacy to the outside world.
Nienke Sikkema brings three different stages into the exhibition space, actually three „stage like sculptures“ which invite the viewer to think about the possibilities and impossibilities of the presentation of oneself in public.
One stage is made of metal, one of glass and one of fabric (plush/velvet), so they also affect the performer in different ways. One of the stages, the yellow one made of fabric, also gives the possibility to the performer to hide in the forest of its big, yellow sticks, therefore it allows the performer to hide their face and perform more freely, to expose their intimate world. On Sikkema's stages the
performer almost becomes one with the stage, he/she merges with it, making the stage an active, equal participant in the presentation.
Emilie Ruitinga in her video installation creates the intimate red room which becomes a kind of peep show for the animation My Girl. My Girl is a surreal animation piece quite focused on a body and the division and deconstruction of the body and its face parts. For thist reason the red room, where the viewer is situated and where we peep through the hole into the My Girl animation, evokes the color of the inside of our bodies. In this work we become a kind of voyeurs into somebody else's world of the subconscious, and since we peep and our faces remain hidden, we can do with them whatever we want while confronting the surreal shapes and the intimidating sounds coming from the animation.
photos opening: Anke van den Berg
THE STORY WITHIN AND BEYOND
ALL THE WORLD'S A STAGE
PART IVb: Natalie Fyfe & Katerina Sidorova
MAY 30TH - JUNE 1ST
PERFORMANCES: FRIDAY, JUNE 1ST, 19:00 H
The performances of Natalie Fyfe actually do not focus on the face alone but on our mouth as the stage where actually happens everything that makes us human – the food is being chewed, the language (sound) is being created, and we are being connected with others in a kiss. In Choreography of the Mouth-Nil by Mouth, the mouth performs (the whole face except the mouth is in a fetishist way covered with a mask where the connection with the peep show element of Ruitinga can be found) a choreography which almost, just as in Shakespeare's As you like it, brings us to different ages of our life: to the scream which brought us to life, to the infant, to the lover and to our animalistic side which is with us all the time. In Bite, Chew, Spit the artist invites the audience to chew chewing gums and from the small chewed sculptures form the circles in the exhibition space, where they actually become an „archaeology of the mouth.“
In a more metaphorical way, Katerina Sidorova focuses on the object as the centre point of a performance, which, in a way, brings her performance close to Nienke
Sikkema's work. „The object“ are the unbaked clay vessels where anonymous performers are pouring water in silence, until naturally, clay either craks or is dissolved by water. In this performance the actual human body, the body of the performer, becomes insignificant, because it is being aligned with the material which it is concentrated on – clay. The stage becomes the place for human disappearance, the stage where a historical analogy of human physical body and clay as the protomaterial stand together side by side in „ashes to ashes“, „dust to dust.“ The vessels loose shape, just like an old human, in the seventh stage of his life, in the last scene of all, where only mere oblivion remains, Sans teeth, sans eyes, sans taste, sans everything.
Text: Neva Lukić
''The Story Within and Beyond' is a project of: Neva Lukić & Anke van den Berg. Made possible with the help of all See Lab members.
Financial supported by Gemeente Den Haag, Stroom Den Haag and See Lab.