project image
Maj Hasager, installation in the foreground by Johan Lundqwist
PERFORMANCE MONOLOGUES

first performed on April 1, 2016
Inter Arts Center, Malmö, Sweden
performed thirteen times in 2016

IEKE TRINKS

Rotterdam, Netherlands / Malmö, Sweden
trinksieke@gmail.com
ieketrinks.nl

PERFORMANCE MONOLOGUES
IEKE TRINKS

“Performance Monologues” is an ongoing collection of audio recordings and live recitations. I visit artists and ask them to describe one of their performances from memory while I record them. The recordings help me to recite the monologues from memory before a live audience. This is often done during an art event but also in more intimate situations with one or more listeners. I recite the monologues in the first person since they are initially delivered to me in the first person.

For example, during an opening of an art show I recited a monologue about the performance work “In the Absence of a Body” by the artist duo Díaz-Lewis. I began by saying that I took part in an art show in 2015 hosted by the Chicago Artists Coalition. I said that I had decided to stay in the US, which meant that my personal situation was that of an unlawful presence. I explained that a Cuban has to stay in the US for one year and one day in order to qualify for a residency permit, and that the maximum visa stay a Cuban can get is six months. I talked about my action for the art show that involved building a wall in which I lived for three weeks without making contact with anyone.

In another monologue describing the performance “To Look and Be Looked at” by Anet van de Elzen, I explained that in 2015 I performed in a former prostitute’s room in the red light district of Amsterdam. I described the circumstances of the work—for example, the many prostitutes behind the windows and the large number of tourists that passed by each hour. I sat on a huge pile of potatoes behind a large window facing the street. My action consisted of taking the dirt from the potatoes and rubbing it on my face.

I started the monologues for a couple of reasons. First, I have had experiences of failing to describe my own performances to others in a satisfactory way. Second, I wanted to get to know the performance works of others by hearing about the experience of doing the work. Third, the question of documentation interests me; for the record what is left of a past performance? And fourth, listening to someone describe their actions makes it possible to think of a performance in relation to the artist’s body.