Yellow brick  /  Steps  /  STEP 12 | 3,1,1,1

STEP 12 | 3,1,1,1

with Clara Json Borg and Michelle Mantsio01/01/18, 01/01/2018 Steps

Or 3, 2,1,1, or even 2,1,2,1.
It, I, my, mine or They, you, me, mine or even You, I, yours, my.
White, Red/green/blue, Red/green/blue, Red/green/blue, or White, Magenta/Yellow/Cyan, Red/green/blue, Red/green/blue, Magenta/Yellow/Cyan, Magenta/Yellow/Cyan.
A spectrum of sensitivity towards a nature that is not quite sure.
Wavelengths that are nature that is not quite sure.
The proximity of potential energy.
A beep.

Between the 15th and 27th of January two artists Clara J:son Borg (SE/NL) and Michelle Mantsio (GR/AU) will be hosted by the project space Yellow Brick.

The artists first met during a residency at the Banff Centre, Canada, winter 2017. Here they found common interests within their practices around language and the use of the human pronoun. Their first discussions revolved around the possible transformations of pronouns and how this could be translated into materiality, colour, sound and movement.

For one week at project space ONONO in Rotterdam and for two weeks at Yellow Brick in Athens, these artists will set out to deepen the conversations they began at the Banff Centre. Their aim is to set up temporary unlearning research spaces, as they look at performance strategies for the human pronoun and how this can exist through proximity, geography, audio, smell or architecture.

Link to the performance

is a Swedish artist based in Rotterdam (NL). Her artistic practice is directed towards ontologies surrounding the human body, it’s performance strategies and political subject. By a non-representational movement practice and speech acts, she lets her works exist within a boundary area where human vulnerability intersects with political and social forces. She understands her work as an invitation to observe elements of interhuman relationships, social choreographies and knowledge hierarchies.

practice is research-based, where she undertakes interviews and fieldwork that become actual instructions guiding her subsequent art-making. Through film, installation, furniture construction, and documentary evidence, Michelle explores how it might be possible to create episodic as well as temporal experiences within the same context.