A very critical session
For our critical session, Gabriel Nunige and I had chosen to present our drawings together.
I had also wanted to use this occasion to play with context of a critical session at HEAD.
I was interested by two aspects: Inverting the role of the invited teacher with the students in a carnivalesque manner and use the social, sometimes mondaine aspect of this kind of congregations.
Our invitation e-mail, which was sent on the day the session was taking place, informed the audience that the famous artist John Armleder (who comes from Geneva) would attend the gathering. This generated very strong reactions throughout the students who were supposed to have their session on the same day: Some did’nt want to show their work if such important figures were to be present. We assured them that he would only be present at ours, and they showed their work after all.
When our turn came, we received our visitors, which turned out to be many.
John Armleder was runnning a bit late. He finally made his entrance wearing a mask of him I had made and wandered around the exhibition, not saying anything until the end of the critical. Some of his admirers took selfies with him and shared them on social networks.
Dental floss hair
This Performance, which could also be considered as a Happening, took place at Mimi Beauté's, in the Pacquis, Geneva.
I had taken an appointment to have my hair cut and showed up wearing a selfmade mask with a wig made out of dental floss. It created confusion about which hair were to be cut.
The hairdresser who then accepted to cut them did an excellent Job. It was of importance to me that his hand participated to the elaboration of the object.
The somewhat absurd or unsettling dimension of the situation was interesting to me because it generated different reactions, some finding it scary or weird, others funny or beautiful.
The social interaction with the people working in the shop also mattered to me, as they all reacted very positively to the performance and made it a very exciting experience.
This piece was related to my research about carnivalesque practices and costuming. I had grown more and more interested in the use of masks and costumes to transform one's body and identity as much as in their potential as a space for protest.
It was documented by Galaxia Wang who kindly accompanied me to the shop.