PERFORMANCE
"Performance is a contact with public...
... it is a self-immersive presence..."
2021
The point
Performance, streaming, June 2021,
Performance art festival in Tychy. Poland / Corviale, Rome, Italy.
The performance consisted of 2 parts: some people were sitting in front of the screen in Tychy and others were running around observing the real-life of Corviale. While streaming, Piotr Kumor was following the steps of movement in Corviale (A1, black bishop. A8, white rook. B2, w. pawn, etc.) putting the chess figures on the real chessboard that was situated in front of the public in Tychy. "A big grey point is visible from the distance. We need to go closer, to go inside... Corviale is usually conceived as horror but there is so much truth, love and hospitality in this district, building, point. It is a mirror hidden in concrete that reflects the true story of Rome, Italy, Europe... The final point of this chess game is "pat". But I don't put the king on H8. Corviale is not dead, it is full of tension, movement and changes, full of life. The actual point of Corviale has at least 360° to look around."
2020
Human
Performance, streaming. December 2020, FNAF. The Czech Republic.
Naked, dress, hanger, rope, 50 m of black elastic, dance, pants.
FEM
Online performance, December 2020,
FEM_20.
In pair with Deej Fabyc.
2 stones, white dynamic line / voice
1. Each participant prepares a performance of max 5 minutes with no contact between the artists – each in her own country
2. We meet on Zoom
3. We randomly choose pairs of artists.
4. They perform their actions simultaneously.
5. On the screen we only see the two artists.
6. We look for synchronicities
7. Repeated until finishing all the participants
Bread
Performance in streaming, December 2020, Kolo Czasu. Torun (Poland)-Lviv (Ukraine).
Bread, hole, heart.
Boli (It hurts)
Performance in streaming, November 2020, Zero Waste. Tyhy, Poland.
Black film, toothpicks, words.
Looking for the sky
Performance, October 2020,
Franko Laboratorium 2, Lviv, Ukraine.
Bread, water, reflection, hole.
Untitled
Performance, Same Difference: Equinox to Equinox, September 2020, Parc Zalizna Voda. Lviv, Ukraine.
Run, breath, 3m of white paper.
Group performance in public space.
CENTER
Performance, August 2020, Korsak Museum of Contemporary Art. Lutsk, Ukraine.
50 m of black elastic, dust.
Bread and Body
Performance in streaming, August 2020, Transmutacje, Belchatow, Poland.
Red lipstick, lavash.
Lavash is a kind of bread. It is a symbol of a body. Each kiss becomes a touch, a wound, a hole… It is sacral and secular at the same moment.
La Nada
Video performance, July 2020,
Hotel Dada. Argentina.
36th contribution of La Nada within the framework of the exhibition “La Nada. Una Declaration” in the collective project “Talking about nothing / Making nothing project”.
Each guest artist submits a video of up to 1 minute with his/her personal interpretation of nothing.
2019
Kilograms of the memory
"Kilograms of the memory" is a series of performances based on stories from my memories. The place is very inspiring, its context and light, the objects that are here. For several days, I worked on a papier-mache object in the workshop of "Espace o 25rjj" during the residency: it was a pillow that becomes a sign of memory that turns into a dream. This pillow is solid, it has an unalterable final shape that can only change with the presence of reality. "When I was little, I had a cushion with birds of which I dreamed of the horrors." Now I lie on a rusty bed and watch the birds flying in the endless sky.
International performance art festival “Kolo czasu”, Torun, Poland. December.
Coloured candies, sugar.
The memories are good, sometimes horrible, sometimes sweet or even too sweet.
Kilograms of the memory
PAErsche, Cologne, Germany. 24 November
Gauze, lipstick, wall, trace.
Kilograms of the memory
Photos of the performance, November 15, 2019,
Video documentation.
Espace o25rjj, Loupian, France.
Yard, rusty bed, papier-mache pillow.
Cycle
Video documentation. September 15, 2019.
II Biennale of Young Art. Kharkiv, Ukraine.
32 wooden ladders of 60 cm long, circle, rope.
“The idea of the project appeared in Poznań during the Gaude Polonia scholarship program in 2013. Although the Revolution of Dignity began after the artist returned to Ukraine, the pressure and tension at that time seemed to be "present in the air". So the performance came out as an attempt to express a vague and incomprehensible sense of discomfort, and also as a result of studying the space - the rounded architecture of the Rotunda Gallery in Poznan. This project marks the transition link from space as an environment external to a person, to the environment into which a person is immersed” (Daryna Skrynnyk-Myska).
To be
Photos of the performance. 3 hours performance (3d part). July, 2019.