Performances

TABLE OF NEGOTIATION

Va-Bene Elikem Fiatsi & John Herman
CHALE WOTE STREET ART FESTIVAL, 25th August 2019, Accra-Jamestown

Represented by Perforcraze International Artist residency (pIAR) Va-Bene Elikem Fiatsi [crazinisT artisT] and John Herman’s collaboration explores the notion of imperfections, ‘sick-cursed bodies’ and bodies labeled as disable and taboos in relation to those patriarchal structures that seek to validate our being. The duo inserts their bodies in the vitruvian geometries as symbols of disruption, failure, contamination and incomplete beings struggling to survive, reaching seemingly structures that controls their narratives and those that idealised our collective sense of belonging and becoming. Both artists seemed enveloped in shame, rejections and inferiority while negotiating for their own placement within such elements and spaces that do not necessarily make provisions for their existence. crazinisT and John Herman investigate how imperfect bodies emerge in relation to idealised “man” to which our [being] is geometrically placed and defined by the [lacks] the refineries that reproduce masculinity, femininity, queerness and “weirdness” and potency. 


ɔsaNTI – MEETING KUMASI

Art Performance by John Herman

9th August 2019 – Kumasi Ghana

Kumasi is the former capital of the Ashanti Empire, which persisted from the late 17th century until the middle of the 20th century and since 1957 has been part of a state union with Ghana under the name Ashanti Region.
John Herman tookes his first stay in Kumasi as an opportunity to interactively explore the public space there – a historical construct of social, economic and political processes – and its visual structure with a body-focussed performance. The personal attempt to understand urban space and its people inevitably leads to an examination of past and modern slavery, the consequences of colonialism and globalisation. The performance artist is not free in his actions but, like everyone, carries heavy responsibility for the direct and indirect consequences of historical construction. The performance ɔsaNTI (Because of War) symbolizes the very individual path of everyone to their personal Golgotha and the desire for salvation. | “ADEAKYEABIA ENUBUEKE (ANOTHER DAY HAS COME) by perforcraZe International Artist Residency – (pIAR), Kumasi/Ghana 


f a k e NEW(s) 2.0 or the Suicide of Western Culture

Art Performance by Hasan Hüseyin Deveci & John Herman

Photo Documentary: Matthias Drobeck

TIME FOR OUTRAGE FESTIVAL 2019, 04 th July 2019, Venue: K101 Bunker, Cologne-Germany
The term “fake news” has gained popularity since the election of U.S. President Donald Trump and Russia’s presumed meddling in the campaign. According to the German government, “troll armies” and “fake news” on social media are a threat to democracy. They are perceived as an external threat — an enemy from cyberspace.

It is often forgotten that opinion campaigns have always been part of the repertoire of political, economic and military conflicts. Social media are just another field, in which the dynamics of political suggestion and autosuggestion are particularly effective.

The art performance “fakeNEW(s) 2.0” may reflect this phenomenon in its name, but actually seeks to illuminate the actions of individuals in this context and encourage self-reflection on the desire to engage in gossip, slander and prejudice.

In this performance, visual artist Hasan Hüseyin Deveci and performance artist John Herman worked with materials including newspaper, paint, canvas and glue. The performance ended after 1 hour.

 


‘fragmentari A 2019’

Performance: John Herman
Photo Documentary: Matthias Drobeck
Cologne, 6th February 2019

The photo-installative performance ‚fragmentari A 2019’ explored the multiple fragmented and contradictionary inner-identities of the single individual and their historical, economic and social context.
While struggling with tight shackles, I attempted to make the invisible conflict between the inner- and outer-sphere visible and questioned its each impact and oneness as a surreal state of mind.
I worked with materials like bandages and a ripped mask. The performance ended after 1 hour.


T H E  A R T I S T  I S  A N  I N S T R U M E N T

WAR ON CANVAS

24th May 2018, Cologne
by Hasan Hüseyin Deveci & John Herman
Photo Documentary: Matthias Drobeck

What connects artists and warriors? What do war and art have in common? How can inherently destructive processes be transformed into prosperity and construction through creative expression?
In a collaborative art performance, Hasan Hüseyin Deveci and John Herman intend to explore these questions and others in order to challenge the established boundaries between performance art and fine art. In this provocative piece, the studio artist (Hasan Hüseyin Deveci) and the performance artist (John Herman) search for a common ground between these creative practices, and in effect they bring to light the contractionary relationship between permanence and ephemerality in art.
The body of a war veteran becomes an instrument of art as John Herman gives himself to the hands of Hasan Hüseyin Deveci. Hasan Hüseyin Deveci then implements this body into his art work, creating new structures and expressing new potentials with this organic material. In the process, the two transform the soldier’s body—a tool of destruction and power—using an emergent constructive context. This interaction between organic material, movement, and colour intends to open a new space, where normally hidden processes of transformation are made visible, inspiring individual reflection on the complexity of processes of transition themselves.
The artists worked with materials like ripped canvas stripes, canvas, paper, card, acrylic paint and textile. The performance ended after 1 hour.

Audio feature about the performance “War on Canvas” by Cornelia Wegerhoff on Deutschlandfunk Broadcast (German language)

 


M A K I N‘  H I S T O R Y 2.0

31th Jan 2018, Cologne
by John Herman
documented by Matthias Drobeck

The performance ‚Makin’ History 2.0’ explored the multiple social-cultural ties between the single individual and history as a concept of social construction. While hopelessly pushing, pulling and lifting wooden cubes, I attempted to make the invisible circle of individual deeds visible and question its limited impact on the ‚surreal‘ perception of history as an act of social construction and its descructive patriarchal, sexist and capitalist backgrounds. I worked with materials like wooden cubes with a weight of 35 kilos each, oil, ashes and wore only a jockstrap. The performance ended after 2 hours.


Bond[H2o]

crazinisT artisT [Vabene Elikem Fiatsi] & John Herman

CHALE WOTE Street Art Festival 2017 ‘WATA MATA’

19th August 2017, James Fort Prison, Accra, Ghana

Photo Documentary: Regina Sebald & Alissa Jordan

This performance explores human vulnerability, death, life struggles, failures, the-will-to-survive and the aesthetics to human BONDS… While searching hopelessly in the mud and bones for everything but nothing, we attempt to reexamine the human sense of incompleteness and otherness. We both struggle our way out onto the street after several hours of failures in the prison- mud, walking, falling, crawling and dragging ourselves to a distance of 700m where the performance ended lasting for about 3 hours sustaining bruises and cuts all over our bodies.


„You are water. I’m water. We’re all water in different containers. That’s why it’s so easy to meet. Someday we’ll evaporate together.“ – Yoko Ono

Bond[H2o] 

crazinisT artisT [Vabene Elikem Fiatsi] & John Herman

Pre_Performance
CHALE WOTE Street Art Festival 2017
‚WATA MATA‘
James Fort Prison, 
Accra, Ghana
(Camera: Alissa Jordan, Edit: John Herman)


THE PUPPETS OF POWER

Art Performance by John Herman

21.02.2017, Cologne

Photo Documentary by Matthias Drobeck

The performance explores the multiple social-cultural ties between the single individual and power as a concept of psychological control and its destructive impacts on political economy, social structures, culture, art, aesthetics and sexuality. The interaction between the human body and technical tools, like a weapon or a prosthesis, were employed to make the invisible visible. 


WAR & PEACE

Duo-Performance by Solmaz Vakilpour and John Herman

War Child meets Ex-Soldier and War Veteran – A Story about Guilt and Forgiveness
Photo Documentary: Herand Müller-Scholtes
@warlessday

„No problem is solved on the logical level in which it exists.
When, on a meta level, we comprehend war or violence as one form of communication, the imagination transcends destructive interaction and empowers an integrative level of constructive dialogue intent on achieving reconciliation and concluding with honorable peace. Another World is possible.“
(..) „“Hic bir problem iliskili bulunduğu bağlam dısında mantıksal çözülemez.
Savaş ve şiddeti bir iletişim şekli olarak anladığımızda/gördüğümüzde, yıkıcı bir etkileşimden yapıcı bir dialoga gecerek yakışır/değerli bir barişa ulaşma ve dengeyi bulma düşüncesi mümkün olabilir. Başka bir dünya mümkündür.“
(..) „Kein Problem wird in dem logischen Kontext gelöst, in dessen Zusammenhang es existiert. Wenn wir Krieg oder Gewalt als eine Form von Kommunikation begreifen, dann ist die Vorstellung möglich, von der destruktiven Interaktion in einen konstruktiven Dialog zu treten, um einen Ausgleich zu finden und einen würdigen Frieden zu schließen. Eine andere Welt ist möglich.“

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