There is art that often requires theoretical commentary, you can write a lot about it, connote it, define, juxtapose it, and search for new contexts. With this speech, all the addition and talking seems out of place. The magnetism of the situation built by Eglantine inspired people to reflect on their own thoughts, personal interpretations and reactions. For me personally, this incident had something to do with alchemy? I was not dealing here with a reflection of corporeality, but a reflection of the inner state, the artist's thoughts.

Maciej H. Zdanowicz

The third day of the festival: Wednesday, May 12, 2010 at 6.00 p.m.
Artistic Activities Center, 5 Dąbrowskiego Street

As part of the second edition of Off Interactions, we had the opportunity to see a show by another student of the Intermedia Department of the Academy of Fine Arts in Krakow - Justyna Górowska. The performer entered the scene almost naked, tied with a white ribbon, with knee pads; on the head with a metal object, the shape of which resembled something like a pyramid? beak. At the level of the navel, Górowska was tied with a transparent bag filled with salt, ending with a coil at the bottom, hanging down limp. The student moved around the room on all fours, with the object? a mask, the top of which rested on the ground, simultaneously marking the direction of its movement. By squeezing the salt from the container placed between the legs, it left a trace in the form of an irregular line. The drawn form was built with the help of two triangles with their vertices facing each other, as if reflected in relation to the symmetry line set before the beginning of the action. The first one was drawn with a continuous line, the second was partially blown off by Górowska during the application, leaving a trace in the form of irregular spots. After the action was over, the performer left the room slowly.


Kana Fukushima was the second among the evening shows. It was her second performance at this year's meetings. The place of action was a table in front of an open door far away from him. There was a block of ice on the countertop. The performer entered the scene, leaning over the frozen object and putting the book on it. She walked around the table, sipping the melting ice, which she then carried in her mouth to the outside, spitting it outside the door. With each subsequent time, anger and tension of the performer built up, which was reflected in the action gaining speed and expression, and the words shouted out louder and louder? Japanese concepts related to nature (cloud, water, ice, sun, etc.). In the finale, Fukshima in fury and hysteria threw a block of ice outside the gallery.


Waldemar Piórko is a young Polish performer from Cieszyn. Speaking about his activities, he emphasizes that the most important issue to him is the body as understood by the cultural organism created by culture. That evening he was dressed in white with a shirt and a light suit. He had scissors in his buttonhole. He started the performance by arranging a dozen spools of white, thread-like rubber band on the table. The only message that came from the performer's mouth was:? If someone doesn't want to take part in my performance, let them come out ?. He began to sew a feather with a needle and thread through his pants and suit, sewing the next participants to himself. As a result, a network was created, a tangle of related people, in the center of which was the person of Feathers. During the finale of the action, the performer freed himself from his clothes, leaving people connected, quickly picking up scissors and cutting their joints.

Alicja Pertkiewicz

Is the protocol needed? What is Normal Performance Artist? Are these questions asked by Carlos Liavata? temperamental Spaniard. In his performance, together with Fausto Grossi, he created a situation that naturally penetrated the sequence of all festival events on that day. Sitting at a table divided in half, they conducted a written dialogue similar to Internet conversations (? Facebook?). Extremely long, unusual in form conversation was conducted in English and Spanish. Each written sheet was stamped? Normal Performance Artist? and signatures of the artists. They aroused widespread surprise. This event raised several important issues: the existence of order protocols in the world, averaging, standardizing behavior and procedures, as well as interpersonal contacts. Liavata asks the question: are cyber contacts still real relationships? As he says himself: the most important thing in a conversation is a touch that carries more information than a word. To illustrate this, at the end, the artists played a symbolic fight with a slingshot and boxing gloves.

Katarzyna Gwoździk

Hillaro Alvarez (Spain) started the action with a slide show documenting his sculptures. This presentation did not have a specific key when it comes to the selection of works. After it was finished, he picked up a paper bag from the ground, with which he went to the audience. From it he pulled items wrapped in newspaper, bearing the words:? Open it. Watch it. Think about it. Feel it. Give it back to me ?. These words were also spoken by the artist himself, once in English, sometimes in Spanish. The items distributed were Alvarez's objects displayed from a projector. The participants of the event observed the sculptures, touched them, experienced them. At that time, the performer placed five plastic bags in two equal rows, into which he then placed them with remarkable reverence and anointing returned by the audience of the sculpture. When they were all inside, the artist took the hammer with which he began to stoically smash individual works as if it were such a natural sequence of things. After the act of destruction, everything ended up in the bin. Here the artist's questions arise: what is art? or a created product or object? maybe an experience, an experience?

Katarzyna Gwoździk

The last incident belonged to the Brazilian Marcus Vinicius? incredibly affecting the sense of sight and hearing. In the hall where the performance took place, there were buckets: suspended from the ceiling - perforated and placed on the ground - whole. The artist, dressed in a white overalls in rubber gloves, placed a ladder under the hanging buckets and poured water into them from containers on the floor. Through the drilled holes, the dripping, flowing water made a metallic, crystalline sound with varying intensity and rhythm, resembling the ticking of a clock. After each water was poured, the performer would leave, sit down and look at this phenomenon. The last part of the action was that Vinicius made the words "time" using gray powder. He circled each letter with his tongue. Finally, he rinsed off each bucket with water, washed his hands, and left.