“Outland” consists of a 90 minute performance which took place in a hotel room in Athens, Greece for three consecutive days in February 2019, and was repeated twice each day by the two performers.
The location was remodeled to resemble a silver capsule. All four walls including the floor were covered up with space blankets creating an unfamiliar reflective chamber (cave). The scent of synthetic materials (latex balloons, plastic wigs), as well as the lack of fresh air and light were stimulating the senses by depriving clear visibility of the action while at the same time creating a sense of entrapment to its spectators. The sound was composed of two elements, the first one being called “Neither,” an operatic piece by Morton Feldman and the second one a natural noise resulting from the performers’ motion in combination with the audience trying to place themselves within the tight room during the performance.
We were dressed up in long black heavy priest-like dresses with our heads covered by black wigs. The male and female elements were merged into one clear schematic form giving the impression of cut out figures. The bodies movement was a slow transition into the given space where they would create shapes, similar to an archaic symbolistic writing code. A good example of this would be Franz Klein’s abstract paintings. An absurd use of props was introduced as the performance slowly unfolded. Balloons were protruded from the wigs like a medium of communication and breathing.
As the piece progressed, the aforementioned slow movement gradually created a significant transformation. Konstantinos executed a balloon gathering gesture, pinning them on his person, covering up the entire surface of his costume, while Anna revealed her legs and feet in “stripper shoes.” Anna transformed herself into a horse by tying her right heel with a lasso and revealing her head with a black lycra head piece on, trying to both walk and contain the movement whilst Konstantinos popped the balloons on his body with a nail.
A ritualistic “Bella-Tar” frame in which animalistic and human forces were crossfading, producing a dystopian image of no way out. Like entering the limbo of Hell. “Outland is where we all belong but are afraid to go.”