BREAKING THROUGH THE (UN)KNOWN
ph. Ronald Bal
"Breaking through the (un)known" was a durational performance, created under the mentorship of artist Marilyn Arsem; a creative response within the context of VENICE INTERNATIONAL PERFORMANCE ART WEEK "Co-Creation Live Factory – Prologue 1", curated by artistic duo Vest&Page and independent curator Francesca Carol Rolla, who descibe it as a project that works as "a think tank for outlining conceptual visions which de-clearly overcome imposed and external human conditioning, generating further propositive reflection on topics such as poetic and civil sovereignty, the whole and the ineffable, time, space and existence"(Vest&Page)
For four and a half hours I use only my feet (whilst standing) to gently tread and grind a single Venetian terracotta roof tile until it breaks and is slowly transformed back to dust, to "terra". Terracotta, deriving from Italian and simply meaning "fired earth", is a natural material extensively used in architecture (specifically roof tiles), and the making of domestic ornaments. Roofing, an indispensable constituent of houses, functioning as a defensive armour against climate and external risks, without which, the "oikos" (Greek word referring to three related but distinct concepts: the family, the family's property, and the house) is exposed to danger. I use a single terracota tile, called "coppo" in Venetian dialect (meaning "channel"), as metaphor of home, stability, safety.
Wearing black boots, the intention is to break and dissociate the material, avoiding violent movements, such as jumping or stepping forcefully on the tile. Repetition, rhythm and breathing are combined in a channel through which the actions of grinding and treading are performed as a ritualistic, minimal choreography with my feet resembling a pestle.
Eventually, after 3 hours, what felt impossible becomes possible; the tile breaks and the subtle sound of "breakthrough" gives a new impetus to continue the process of transformation into prima materia: a task which is destined to fail to be completed.
I look at the broken piece and something has changed on me. The tiredness is gone, as I realise that I can keep on going and going...without a fixed destination. For a moment I am wondering if this is when I have to stop. But I remind to myself, that there is no arrival point...but a new starting point. I can here the people walking around me silently. Someone whispers: "She did it"...I did it because you were there, too..."we" actually did it...what does this mean? what actually "I" and "we" did. The significance and associations behind "breaking a single roof tile with feet" blur the line between an action of oppression and an action of resistance.
At points the repetitive dance which reminds me also the traditional method of Grape-treading to make wine. The grapes were crushed by having barefoot people repeatedly stomp on them to release their juices and begin fermentation...
The performance will end, but the journey continues.
In an era when the concepts of home and safety are threatened by hierarchical structures of oppression and military power, individuals are called to stand up, resist, persist and keep on transforming inner frustration into determination for a radical change. This performance is an act of persistence where vulnerability and strength, materiality and symbolism, surrender and perseverance : constantly overlap before the moment of breakthrough.
