{"id":1871,"date":"2015-05-05T15:23:00","date_gmt":"2015-05-05T15:23:00","guid":{"rendered":"https:\/\/yolikapoulopoulou.gr\/fluids-by-alexandra-pirici\/"},"modified":"2024-11-23T20:33:47","modified_gmt":"2024-11-23T20:33:47","slug":"fluids-by-alexandra-pirici","status":"publish","type":"post","link":"https:\/\/yolikapoulopoulou.gr\/en\/fluids-by-alexandra-pirici\/","title":{"rendered":"Fluids by Alexandra Pirici"},"content":{"rendered":"\n<p>This version of Kaprow&#8217;s &#8220;Fluids&#8221; makes a material shift: from ice blocks to the assembly of the human body. The new work attempts to reconsider and reposition itself in relation to some of the issues addressed by the original work\u2014the medium of sculpture, the concept of the monument, temporality, participation, and the production of collectivity. It also considers the human body as a medium and the materiality of &#8220;intangible&#8221; performative works and their economy in a time of a (second) &#8220;performative turn&#8221; in visual arts. It also attempts a more abstract way of being together\u2014the participants are built into a structure 9 meters long and 3 meters wide instead of constructing an external object, thus reflecting the impact of today&#8217;s immaterial labor (in affluent societies) in contrast to the former dynamics of the industrial era and the factory floor.<\/p>\n\n<p>The live, sound sculpture &#8220;melted&#8221; from 12 to 8 p.m. in Potsdamer Platz.<\/p>\n\n<p>Concept: Alexandra Pirici&#13;\nCurators: Lisa Marei Schmidt, Udo Kittelmann&#13;\nProduction: Hannes Frey&#13;\nOrganization: Nationalgalerie Berlin, Berlin Art Week&#13;\nPhotography: Alice Heyward<\/p>\n\n<p>Performers: Ferre Naima, Valerie Renay, Zuzanna Ratajczyk, Paul Walker, Jozefiens Beckers, Reza Mirabi, Juan Gabriel Harcha, Julia Illmer, Josephine Findeisein, Marc Carrera, Annekatrin Kiesel, Amit Goldenberg, Miriam Kongstad, Maria Ferrara, Iam Campigotto, Helen Follert, Kathrin Knopfle, Jasmin Ihrac, Gregori Homa, Katarzyna Guzowska, Yolika Poulopoulou, Darcy Wallace, Julia Jadkowski, Ana Mrdjanov, Leonie Nadler, Jana Kruger, Carina Erdmann, Sura Hertzberg, Ralph Klein, Annette Zander, Alice Heyward, Yuca Meubrink, Viviana Druga, Rene Ricarda Vollhardt, Edith Buttingsrud Pedersen, Carlos Kong, Emily Ranford, Thomas Mielmann, Tobias Kluge, Corinne Schlichting, Lenine Guevara, Martha Hincapi\u00e9 Charry, Andrei Barza, Rachell Clark, Tatiana Heide, Laura von Raffay, David Loscher, Neele Ruckdeschel, Sven Hermans, Frida Yngvesson, Hanna Nordqvist, Giulia Heder, Sarah Bouars, Maddy White, Miha Jensterle, Rebekka B\u00f6hme, Pedro Vieira da Costa Filho, Juliane Dames, Jessica Kammerer, Paul Riemann, Eva Rozalia Tank\u00f3, Judica Albrecht, Lola Lustosa, Camila Rhodi, Dmitriy Povernov, Benjamin Egger, Uwe Zimmermann, Sarah Berger, Marie Zwinzscher, Sophie Camille Brunner, Anton Rose<\/p>\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici.webp\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1000\" height=\"667\" data-id=\"1467\" src=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici.webp\" alt=\"\" class=\"wp-image-1467\" srcset=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici.webp 1000w, https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-300x200.webp 300w, https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-768x512.webp 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-2.webp\"><img decoding=\"async\" width=\"1000\" height=\"666\" data-id=\"1465\" src=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-2.webp\" alt=\"\" class=\"wp-image-1465\" srcset=\"https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-2.webp 1000w, https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-2-300x200.webp 300w, https:\/\/yolikapoulopoulou.gr\/wp-content\/uploads\/2024\/09\/pirici-2-768x511.webp 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n<\/figure>\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\r\n<iframe title=\"&quot;Fluids&quot; - a 2015 reinvention of Allan Kaprow&#039;s happening from 1967\" src=\"https:\/\/player.vimeo.com\/video\/139878844?dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\r\n<\/div><\/figure>\r\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This version of Kaprow&#8217;s &#8220;Fluids&#8221; makes a material shift: from ice blocks to the assembly of the human body. The new work attempts to reconsider and reposition itself in relation to some of the issues addressed by the original work\u2014the medium of sculpture, the concept of the monument, temporality, participation, and the production of collectivity. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1468,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[25,1],"tags":[],"class_list":["post-1871","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-en","category-work-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Fluids by Alexandra Pirici - Yolika Poulopoulou<\/title>\n<meta name=\"description\" content=\"A contemporary re-examination of Kaprow&#039;s &#039;Fluids,&#039; where the human body itself becomes the sculptural material, reflecting the transition from industrial labor to the intangible labor of modern society. 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