Lilia Mestre is een performance artieste. Haar werk is een reflectie op sociale en individuele identiteiten door het onderzoeken van westerse archetypes en wat fysiek gedrag inhoudt. Al haar stukken zijn geïnspireerde door de politieke en economische rollen van representatie.
“Rendering 1.0” is een werk van Lilia Mestre in opbouw.
Ze schrijft hierover:
Ik ben aan het denken gegaan over de bronnen van opvoeding in de westerse maatschappij en onderzoek figuren die deze rollen belichamen.
Regels en codes bevragen die standaard zijn geworden in alledaags gedrag, zoals woorden, objecten en situaties.
Om dat ik met herkenning en identiteit werk heb ik besloten solo te werken.
Deze solo wordt nochtans bezocht door Isabelle Shad, om de relatie / interferentie van de andere in relatie tot mijn eigen identiteit te introduceren.
Wie ben jij, wie ben ik , en hoe verhouden we ons tot elkaar? Andere concepten die ik interessant vond en die het werk beïnvloedden zijn de ideeën van self-domestication en de progressieve mens. Hopelijk geniet je ervan.
“Rendering” is a performance about domestic thought process. It brings to relation a person in her privacy and the wide world of reference and universal knowledge.
I’m interested in observing the process of thought and the system of construction and development of the self, so I decided to put myself in an auto observation position. I was inspired by the concept of self-domestication introduced by Peter Sloterdijk. “…above all domestication is the process by which the human being builds himself a domus, i.e. a ‘house, a ‘greenhouse’ where man women as a fragile being is possible.”
And following these lines I started to gather witnesses of that process: objects, common actions, lists of words, books, quotes, experiences, images, dreams.
I searched for images that spoke to me in two directions: in a private way as personal history and perception, and in a general way as a citizen as part of global history. Language, education rules and childhood symbolic figures became my sources of research.
I’m very interested in small events and their consequences but also interested in juxtapositions and the overall awareness of the multiplicity and layers that make our reality. Maybe the cause /effect theory concerns domesticity and rhyzomatic theory concerns total awareness?. The dwelling between both brought me to the idea that there is no ‘truth’ without a context.
Structurally, and in order to manifest different perceptions of the same context, I’m weaving the scenes in a landscape of associations, and supporting the development of the piece on the repetition of the same source in a different mode each time. My desire is to create a fertile environment that allows free association and produces meaning at the same time.
I think I’m exposing a ‘little’ history in trying to relate to the society and politics of our time in a domestic way.
Foucault:“ One of the most essential features of new history is probably this displacement of the discontinuous; it’s transference from the obstacle to the work itself; it’s integration in to the discourse of the historian, where it no longer plays the role of an external condition that must be reduced, but that of a working concept; …”
The project ‘Rendering’ is right now acknowledged as a sequence of presentations of the same piece. They are titled ‘Rendering 1.0’, ‘Rendering 1.1’,so far.
After ‘rendering 1.0’ presented in Bains Connective I decided to present the work as this way since the conditions, the environment and the presence of the different collaborators have a decisive influence in the show. M. Mcluhan: “Environments are just not containers, but are processes that change the content totally.”
For ‘Rendering 1.0’, I worked a month and a half by myself creating images, a structure, and a space that allow expression and reflection. After that time I worked one week with Isabelle Schad on a precise scene that introduced the apperance of the other, the double, the complicit, the alter ego. The question of identity was emphasized by the fact that she replaced me at the end of the piece. In relation to this question I want to use the phrase: ‘a solo with two bodies’, that was mentioned by an audience member.
The aim in ‘Rendering 1.1’ is to experience the piece as a solo for 1 body and keeping the same concerns.
Hope you enjoy!
Special thanks to Barbara Mavro Thalassitis for being the out side eye in “Rendering 1.1. and Les Bain Connexive for housing the project.
Special thanks too to J.J Cardoso, Davis Freeman, Becki Lee, Isabelle Schad, Jan Van Gijsel for supporting the project.
10 02 2006