167. Donating to refugees at Tempelhof cafe

Getting into the big refugees camp at the Tempelhof former airport was not possible without appointments with volunteers.
I contacted them and I went into the camp cafe (hangar 1) which is the only place where not refugees people can go and can meet them.

 

My mission, at the moment, is to donate the small income coming from the two copies of my refugees videos edition which were sold at the edition launch. I also want to open a ‘canal’ to reverse any future income from those sales directly into the hands of refugees.

 

I met two young guys, teenagers, one from Syria and one from Afghanistan and I simbolically donated to each one the proceeds of the videos, one for each.
It’s just a drop into the ocean, but the refugees art project is generating real help.
This is a performance.

 

 

69. Il video “Senza Parole”

Nel frattempo ho finito di mettere online il video che ho ‘ritirato’ dalla Biennale di Torino e mandato la newsletter (dovevo farlo prima di partire ma non ce l’ho fatta, e poi nessuno mi correva dietro d’altronde … ).

The video comes from Liuba performance at the entrance of the Italian Pavillion at Venice Biennial 2011.

[vimeo https://www.vimeo.com/35536283 w=450&h=338]

The Italian Pavillion 2011 was very controversial and discussed. The curator, active more in the Politics than in the Contemporary Art, asked to 100 of Italian ‘known’ people to invite their one best loved artist to the Venice Biennial Italian Pavillion. The result was a show with no curatorial logic and full of any kind of works and styles.
Many of the Italian Art-World people criticized this Pavillion. Liuba expressed her disagreement in an ironic way, distributing flyers at the entrance of the show, as giving the explication of the exhibition. Except that the flyers were white, blank. Empty.

Interesting, as usual in Liuba’s works, people reactions: many react automatically when receiving a flyer, many don’t want it, many other take it without reading, some were thinking Liuba was a Biennial Hostess and asked practical informations, and many people perceived and enjoyed the performance as well.

37. Cosa è il video per me

Ciao, condivido con voi questo testo scritto in occasione della mostra ad Ann Arbor di alcuni dei video del mio ‘slowly project’. Ho scritto il testo a caldo, appena finito il montaggio del video newyorkese, e desidero condividerlo con voi, perché sono le radici del senso che dò oggi ai miei video (o, come lo chiamano in Usa, è un ‘artist statement’), e ne sono anche un po’ orgogliosa! …
“I  consider my videos like paintings, books and sculptures.
I carve them, beginning with hours and hours of shootings as they were a huge marble stock, cutting and selecting piece after piece in order to obtain the final shape.
I paint every single second of the video, deciding colors and combining sequences, in order to arrive to the final pattern.
I write the chapters and the scenes as a story, where I give a sense to each step following the other.
And I mix the music with the intent to give voice to the whole levels of lecture implicit in the work.
I use only original shootings taken during my performances. No studio shootings or actor interactions are used to edit my videos. What is shown is part of what ‘really’ happened and it’s chance one of the main hero of the work.
I consider my videos as portraits of a specific society, city, country, because everything that happens reflects the identity of the place. Each video is completely different from the other, even when it’s made from the same performance in different locations. Seeing the differences of the videos it’s a way to investigate the differences of the places.
I’d like that people consider the video as a poetry, catching the emotions and the concepts that there are inside.
I’d also like that people reflect upon how difficult is to perform perfectly in ‘slow motion’, controlling each muscle movements not to go faster, for hours and hours in the same day. I consider ‘taking our time’ in life and society as difficult as this performance but, nevertheless, necessary. “
Liuba,  March 30, 2011