Santa Cruz, Bolivia 21st of January 2022
"To make landfall I" is the first part of this artwork. I called it a point-of-view performance entangled with walking as an art practice. It implies a kind of video performance and a computer desktop-based performance. Everything happens from the first-person point-of-view of the performer, with the absence of the artist' body in a timeless experience.
For art insiders, it is a way to pose questions about the presence of the artist's body and the relevance of the here and now in performance art.
For the general audience, it is a way to experience an artwork that could remind cinematography and unveil a creative use of tools that some people use in their everyday life through the computer desktop.
I use the format of the voyage, an intense journey. During this journey, the artwork unveils the global issues behind the everyday life issues with creativeness. Likewise, I keep in mind the importance and the seriousness of the subjects, considering life issues from the art point of view.
"To make landfall I" is the preamble of a voyage.
What affects a voyage? The weather. I love to imagine artists as "tempestarii", people able to unleash storms according to medieval records. I love to imagine creativeness like thunders and hail. According to these records, other people are close to "tempestarii". These people come from "Magonia", with ships that reach clouds.
To start a voyage, I need an observation tower first to see the landscape from a high point of view. A cloud could be the best option. So, like the people of "Magonia", I reached a cloud, called "Wolkenhain". It means "cloud grove", and it is in Berlin in the district of Marzahn-Hellersdorf.
From Wolkenhain, I reached a street called Lubmniner, in around 20 minutes by walk. It is roughly the distance between the stop Lubmin Werkbahnhof and the Nord Stream 2 landfall in Lubmin, a municipality in Mecklenburg-Western Pomerania, Germany.
Part of the performance happens: in Kattegat, the desktop of my computer, and the Internet. Kattegat is my art studio in Berlin. I use software like word processors and email clients in a performative way. I use the Internet in the same way. Likewise, the Internet is the venue of the premiere of this performance.
This work is related to an essay I wrote and released: Marrese V.F. 2022, "Point-of-view Performances" in "Meta.space – Visions of Space from the Middle Ages to the Digital Age", edited by Alfred Weidinger, Fabian Müller-Nittel and Markus Reindl / OÖ Landes-Kultur GmbH, published by DISTANZ Verlag GmbH, Berlin, Germany, 2022, ISBN: 978-3-95476-536-2.