Περφόρμανς του Κώλου
Smaragda directs her own "spiritual confinement" within a reality composed of everyday objects, a northern Macedonia flag, a documenta14 cardboard, cucumber, yogurt and a selfie machine. For 8 hours everyday, over the course of seven weeks, the artist will remain within the narrow limits set by the revolutionary institution ASKT, confined inside her own personal dungeon and the shadowy re-enactment of a personal truth spanking herself nonstop for the insatiable eye of the newer new world order. The time passes slowly, like the time it takes for the cabbages to grow.  Actions are repetitious, like a punishment. Reality feels remote, the possibility of ejaculation imperceptible.

spanking with documenta14
yogurt and cucumber makes tzatziki - greek deli
(or is it not greek greek?)
 <3

all eyes on us, learning from Athens

Cucumber as a symbol: Proposes the befriending of enemies through food and the coordination of the digestive system.

Cucumber as a border: North Macedonia (the foreign non greek one) vs South Macedonia ( the real Greek Greek  proper Macedonia) according to Manly Men, even though Alexander was a homo. How can a cucumber cultivate an honest human interaction between the performer and the spectator? Can there be consensual interaction with bodily fluids and Cucumber fluids? Can Smaragda be a reproductive machine for mass greek cucumber exports? Can we build a wall made out of cucumbers? or can we use cucumbers as a playful toy for deep human existential connection through anal hydration?

photo: Alex Kat

Durational with Smaragda was part of Queer Performance Lab
 a proposal for an exhibition and series of happenings @ the Athens School of Fine Art by fil ieropoulos, 2019 
* queer performance is living and breathing we are well-aware that life is a constant exercise in performativity and thus our performance art is not a put-on role we play; it is an extension of our quotidian selves: who we are, what we eat, how we fuck. “we are born naked, the rest is drag” - RuPaul 
* queer performance is posthuman we search for new hybridic, prosthetic, cyborgian selves and oppose essentialist theories that focus on the supposed finding of ‘real’ inner truths or fundamental ‘humanist’ narratives; our truths are multiple, our bodies are a battleground of emerging possibilities.
 * queer performance is extravagant and ridiculous as queer subjectivities, we take pride on the mockery inflicted on us by the dominant powers of heteronormativity; we turn accusations around, reappropriate them and act as a psychoanalytic mirror for normies’ selfimportant pettiness.
 * queer performance is DIY our queer bodies often live in the margins of capitalist productivity and mechanic professionalism; our work is made of the rejects, the rubbish, the unwanted, the discarded eccentric treasures that even capitalism cannot coopt.
 * queer performance is about failure we do not buy the narratives of athletic-style career success in the arts and virtuosic academy-style development; our performance is a continuous discursive process between what works and what does not and most importantly: for whom.
 * queer performance is hysterical we are not emotionally silenced by the oppression inflicted upon us by normativity and we refuse to be ‘sensible’ in the name of a toxic adulthood; we transform our traumas and desires into orgasmic spectacles.
 * queer performance is an assemblage we have little interest in the canon of art history, the pantheon of the important and the influential; our bodies are tableaus of multifaceted conflict and therefore our influences are a collage of oeuvres, methodologies, genres. 
* queer performance is pop-curious we understand the communicative potential of popular spectacle and have no respect for Adornian high and low brow divisions; we are shaped as much by contemporary pop/fan cultures as by the political avant-garde. 
* queer performance is self-reflexive and metagrowing up queer, positionality of narratives is something that we have lived through, usually acting as side-players in someone else’s story; our performance is thus interested in the power dynamic between artist and audience, the complexities that come with holding the megaphone. 
* queer performance is communal we are not interested in naive romantic notions of the artist as a solitary genius; we operate in creative families; we work on each other’s projects, being each other’s most supportive allies and harshest critics at the same time.
 * queer performance is an unruly archive of unspoken stories it is an alternative history of art made of freaks; we have heard, seen, read enough stories by/of white, straight men and quite frankly we are terribly bored; queer performance aims for a disruption of a centuries old narrative. 
From the 4th to the 8th of March 2019, Queer Performance Lab will serve as a space for the development of ideas, interaction between artists and audience, being constantly open to becoming a happening of any sort. Each day, the live performance element will be focused on / driven by an athens-based queer performer, commissioned to use the space as they see fit.
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