Oldal 168 [168]
OCR
KARINA KOPPÁNY she presented [dőtapéta.? Georges Boudaille, a French Art critic, historian, and journalist, saw the performance and was so impressed by it that he invited Kele to feature in the Biennale de Paris. After she had showed him her previous work, he asked her to reproduce J am a Work of Art and exhibit herself again. Kele saw his invitation as a great opportunity to be able to remain in France. She decided that she was not going to just re-perform and exhibit herself, but also sell herself. In order to achieve this, she placed an ad in a French newspaper, Libération, (“Young and successful Eastern European female artist seeks gentleman for marriage. This marriage would enable her to move around freely and accompany her exhibitions in the West.”)* She was going to auction herself off as an art object. She personally selected the men who could bid for her from amongst those who replied to her ad. Later on, the “collector” and the “art piece” did indeed marry, and this allowed Kele to stay in France. In her performances, Kele relied on three specific tropes: the power of female seduction, the female body, and marriage as an institution.® According to Jacques Lacan’s theory, the functional body “must be strictly separated from the imaginary body scheme of the mirror stage.”° This “separation between body and symbolic language is a bridgeless difference, and key to rethinking the relationship of the female body and the female libido.”’ Feminist writers usually take issue with the theatrical representation of the female. In it they analyse not only the relationship between theatrical language and the body, but also the feminist concepts within the dramaturgy and the evolution of feminist characters in theater. In a performance without text the focus is still on the “Id6tapéta is actually a performance combined with a film screening. The film was made by Judit Kele’s friends from the University of Theater and Film Arts in Budapest. On screen, Kele is doing the butterfly stroke in a pool. For her it means freedom. When she is underwater she talks, but nobody hears. In the performance, while the film is playing on screen, Kele is in front of the audience. When, in the movie, her head is out of the water, an assistant in the performance lifts her head up from a bowl. Then when she is underwater in the movie, the assistant pushes her head down into the bowl full of water, in time with the rhythm of the film. While this is happening, she also wants to talk to the audience, but she cannot because she also needs to breathe. In the performance in Hungary, the person in the role of the helper was Miklós Erdély. In the course of the production run, his part was taken by several people who Kele called “godfathers.” In the performance in the Théatre d’en Face, the godfather was so nervous that, without realizing, he accidently hit Kele’s head on the bowl. Her dripping blood made the water red. She was not aware that this was happening, the only thing she perceived was that the audience was stock still, and that the photographer was no longer taking pictures. This was the very performance that Boudaille saw, and which got her invited to the Biennale.” Hedvig Turai: Beszélgetés egy müalkotässal. Balkon. 2011/5, 15, https://issuu. com/elnfree/docs/balkon_2011_05/17 accessed 28 August 2020. Turai: Balkon. Hock: Moving across Europe, 33. [szigorüan el kell külôniteni a tükôrstädium képzetes testsémajatél.] Gabriella Schuller: Tükôrképrombolék Veszprém, Pannon Egyetem Kiadó, 2006, 9. [test és a szimbolikus nyelv közötti elkülönülés áthidalhatatlan, a női írás részint ezt a viszonyt kívánja újragondolni, a női test és ndi libidé kapcsan.] Schuller: Ibid. s 166
