The Blind Man of Jericho

 

 

Performance: Venice Biennial Opening, 2003 Produced by Placentia Arte Gallery 
Video: Italy, 2003, colours, 11’42”  ed 3 + 2ap
Videostills and  STRIP, 2003 ed. 7 +1ap
Photos from monitor: series of 9, ed 3 + 1ap
 
 
 
The concept of the work is a ‘light’ critic of the hypocritical ways that make people act without ‘seeing’, and live without seeing, even if they think they do. Art exhibitions are visited but often they are not ‘seen’. Most people go there not to see but to be seen.
 
 
The performance is acted in a real-life situation, to create a bridge between reality and fiction, the world and art. In this way people’s reactions are an essential part of the work.
The work is an ironic and paradoxical way of showing invisible concepts and behaviours in a visible way.
 
 
The same project had been performed, a few years later, at the Armory Show in New York with completely different results and interactions. (see below, I love to see the Armory)
  • Il Cieco di Gerico (the Blind Man of Jericho) 2003, series of videostill from performance on plexiglass, cm.40x50, ed. 3

  • The Jericho glasses, 2003, original glasses used in the performance, plaster on sunglasses, ed unique

I Love To See the Armory

 

 

Performance: The Armory Show, New York City 2006
Video: 2006, Usa, colours, 12’21”  ed 3 + 2ap
Videostills and  STRIP, 2006 ed. 7 + 1ap
 
 
 

The concept of the work is a ‘light’ critic of the hypocritical ways that make people act without ‘seeing’, and live without seeing, even if they think they do.Most people go to exhibitions not to see but to be seen.  The video is an ironic and paradoxical way of showing invisible concepts and behaviours in a visible way.

 

People’s reactions are an essential part of the work. Reactions made at the Venice Biennial Opening in 2003 (Il Cieco di Gerico– The Blind Man of Jericho) are completely different from the ones at the Armory Show’s Opening in New York. The performance and the resulting video is therefore as well a subtle sociological analysis of various countries and people.

 

Jericho In Bremen

 

 

In 2011 the Künstlerinnenverband Bremen / GEDOK organized a Festival of Performance which brought together international performers with artists of the region.  The festival took place within the Bremer Kunstfrühling, organized by the BBK (Bundesverband Bildender Künstler ­– the association of artists) in a former freight terminal.

It included a curated exhibition as well as presentations of museums, galleries and artist associations of Bremen.

 

Between the 5th of May and the 6th of June every weekend there was a live entry: invited guests included Jessica Findley from Brooklyn, New York, the Austrian Marc Aschenbrenner, Nezekat Ekici of Turkish descent, Marcia Farquhar from Great Britain and LIUBA from Italy. Artists from Bremen included Kerstin Drobek, Elianna Renner and Gertrud Schleising.

The festival program of the Künstlerinnenverband shows aspects of contemporary performance as it is found in the international context – body related, societal, political, theatrical and interactive approaches.

 

LIUBA stated her performance was to start at the city station, and involved getting off the train and then walking into the city center in direction of the Bremer Kunstfrühling show, to ‘see’ the exhibition. The reaction of the people, the interactivity of art in the everyday life, and symbolism are the basis of this work.  

Jericho in Bremen, series of 4 pictures from live performance, inkjet on baryta paper, variable size, ed. 3 + 1ap

Jericho in Bremen, series of 4 pictures from live performance, inkjet on baryta paper, variable size, ed. 3 + 1ap
photos by Mario Duchesneau

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