Lilia Mestre est une artiste de performance. Son travail est une réflection sur les identités sociales et individuelles. Elle recherche les archétypes de la civilisation occidentale et ce qui en constitue le comportement physique. Toute son oeuvre s'inspire des rôles politiques et économiques de la représentation.
“Rendering 1.0” est un travail en developpement par Lilia Mestre.
I’ve been thinking about sources of education in western society and researching figures that embody those roles. Questioning rules and codes that have become standards of common behavior like words, objects and situations.
Because I’m dealing with recognition and identity I decided to work in a solo format. This solo is though visited by Isabelle Shad, in order to introduce the relation / interference of the other in relation to my own identity. Who are you, who am I, and how do we relate? Other concepts I found interesting that influenced this work are the ideas of self-domestication and the progressive human. Hope you enjoy.
“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