HOMEWORK: Alexandra Pirici

HOMEWORK

Inspired by the Fluxus movement, in which artists wrote instructions to be activated by the public inside museums, BoCA now invites artists to write instructions for activation at home. Every Monday, new scores are shared that challenge the audience to a dialogue between the outside and the inside, the body and the imagination.

Every Monday we launch the week’s schedule on our website and social networks. Subscribe to our newsletter and our Youtube channel to receive news first hand.

WEEK 3

MAY 4: Alexandra Pirici (Romania / Germany)
Titles: Social Media for Kitchen or Bathroom (2020)
Living-Room Mutualism (2020)

This week begins with another Homework, this time by the artist and choreographer Alexandra Pirici, one of the most requested names in the current performance circuit. Pirici’s artistic practice involves thinking, “updating” and performing history through the body, questioning the fixation of memory and heritage in a given time and space. “Social Media for Kitchen or Bathroom” and “Living-Room Mutualism” are the response to BoCA’s invitation.

The performative work of Alexandra Pirici (born in 1982, Bucharest, Romania, currently living between Bucharest and Berlin) addresses the political potential of aesthetics, connecting movement – specifically the body and its energy – to a re-reading of the historical and artistic narratives historical. It produces live performances or sculptures, with performers who refer to sculptures or monuments existing in specific contexts. Its first actions in Bucharest took place in the context of the economic crisis and continued cuts in the arts budget; namely “If You Don’t Want Us, We Want You” (2011), which confronted the placement of human bodies in relation to heroic, sometimes controversial sculptures or monuments in public spaces in Bucharest. Conceived as a protest action against the cultural policy of the state, these interventions produced frictions with play and humor, de-monumentalizing official populist art with the living presence of the human scale. The central point of its practice is to question the role of performance in relation to the economy of current events. By continuing to interrogate and inquire about the possibility of collective bodies in space and time, Pirici’s work attentively provides an important insight into the digital and human age.