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HOW TO EXPLAIN PICTURES TO A MAN



by Dimitrije Kokanov and Igor Koruga Performance: Ana Mandic Producer: Olviera Kecojevic Co-producers: Gorgone with Station Service for contemporary dance and Museum of Contemporary Art - Legacy Gallery of Milica Zorić and Rodoljub Čolaković in Belgrade Funded by: Ministry of Culture and Information of the Republic of Serbia International Assistance Fund of the German Federal Ministry of Foreign Affairs, Goethe Institute www.goethe.de
Thanks to the Atelier 212 Theater The project "How to Explain Pictures to a Man" is a work of performing art practice that uses various dramatic, choreographic, and conceptual art elements. As a starting point in the research for this project, we used the famous work of the German artist Josef Boyce "How to explain pictures to a dead rabbit" (1965), on the occasion of marking the centenary of his birth. Relying on the basic concepts of Boyce's artistic practice (social sculpture, scientific lecture, performance) and their function of raising awareness of the general public through creative, participatory shaping of society and politics, we focused on the issue of women's speech in today's public space. We developed the discourse on the position of women in patriarchy and capitalism through other means of performance, such as body, view, and technology. Our goal was to discuss ways in which it is possible to deconstruct another's / male view of the body and discourses that construct relationships with the female body, speech, and memories. We started from the idea of ​​researching different procedures of performing in the digital space of live communication, in order to confront that material with the physical space and the form of live performance. We used direct and indirect performing communication as a training ground for re-examining the views of the audience and the performer, and thus the dramaturgical structure of the performance. This paper, therefore, examines the procedures of digital, mediated performance and aspects of online communication as new types of autopoietic exchange between the contemporary performer and his audience.

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