Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK), holding an MFA in Choreographing Live Art from the University of Lincoln (UK), ) a BA Honours in Dance from the National Dance Academy of Rome (Italy) and a BA in Italian Language and Literature from the Aristotelian University of Thessaloniki (Greece).
Over the course of the last six years, video making and photography became a dominant and persistent component of her artistic practice. Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, construction and deconstruction of female identity and more. www.feniakotsopoulou.wix.com/artist |
This Dance Has No End, GR/UK, 2018, 10'59''
Choreography: Fenia Kotsopoulou camera: Daz Disley "What happens when someone dies is that we, the living, contain their memory within us ... They will live on in us, and we will celebrate them. And dance like there is no tomorrow". Diane Torr A dance dedicated to artist, drag king and gender activist Diane Torr who passed away in May 2017. A year to the day, I dance in a black room : a single shot fusing male and female as ode to life and death. Traditional urban zeybekiko dance of Rebetiko, exclusively danced by men -in the past- is danced by my hybrid manifestation - blended aspects of my identity. In silence, I hear Diane's words: "Take space with all your being. Own the space". I lift my arms and dance like there is no tomorrow as the camera follows. No edits or retakes : the aim is not to please or excite but to offer myself as site for collective unburdening. |
Karin Keisu (b.1995, Sweden) and Josse Thuresson (b.1992, Sweden) work with moving images, performance and text centered around marginalisation, language, queer life and death. They use xtravagant makeup as a genderfuck act of defiance and embody space from where better futures can be proposed. Desire tinted in speculative proposals. Disturbing normality into deconstructed realities; questioning history written in denial and that only mention happy endings.The duo has been working together since early 2018 and are educated at the National Academy of Fine Arts in Oslo and at the Academy of Fine Arts Vienna.
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Perverse temporalities
Karin Keisu and Josse Thuresson, 2019 In Perverse temporalities Karin Keisu and Josse Thuresson address queer temporality theories - an academic field that question linear heteronormative reproduction structures and capitalistic ideas of efficiency. For their video work they relate these notions with the notion of lip sync. They have produced a song to each other, and then, without having heard the song before, they repeatedly try to learn how to lip sync to it. The length of the songs and the duration of the performances vary between the artists, which constantly simulate a new dialogue between the videos. The lyrics are loosely based on Theorizing Queer Temporalities - a roundtable discussion moderated by Elizabeth Freeman (2007) as well as Queer times, queer becomings edited by E. L. McCallum and Mikko Tuhkanen (2011). |
Zirlar Mord Ω’
is a saturnian researcher currently integrating itself in the earth through the body of fotis rovolis who has infinite open ID slots, has studied architecture (UTH, Thessaly) and electroacoustic composition (KonCon/KABK, Hague) and likes to do stuff with space, image, body, movement and primarily sound. His works come along with discovering different alias/characters each time (STRCZNSMBL, voukolitronik, Apiblata), resulting to an overflow identity suffering. Or pleasure. All of his existences deal with everydaylife role-performing repetitions, imaginary utopias, border noise and glitter porn. Currently produces collages for Yusra Mag, music with Space Manifesto and elaborates on two new fictional bands. |
IDDDOCK 1.0
Soph, they are cumming. xx, Ida. *Ida+Soph=L.F.E*. a cyborgpornsoundbooth: [performers: G, Pluto, Roger and Ring] synthesized, overlapped and remixed, several masturbating performances form a pornographic audio collage. Every performance is captured binaurally. This lets the listener - after bowing above and placing their head inside IDDDOCK – embody each performer’s experience, without the ability of optical perception. While, mainstream visual pornography and dating apps are overall full of exclusions and stereotypical variables_putting aside indications of who/when/why/how a digital encouter acts, (this) makes room for everyone. This ritualistic digisexual entity is a gift from the manuals of Ida Craddock and her partner, Soph (1857-1902). |