How can the performative characteristics framed as ‘artisthood’ function as an emancipating and embodied method of collective being? As a way to create space and re-centralise ourselves, our beliefs, our needs and our togetherness within this violent and inescapable system which keeps asking to sacrifice ourselves for our labour? How can we see this artisthood as the performative presentation of the makeability of conditions, as something available and intrinsically part of a human condition? How can we survive? Not as a confirming systematic and formal relic of a societal structure, but as the transgression of this confirming state of survival. As something which not blindly tries to preserve.
My presentation at This Art Fair exists as a performative position in relation to this idea of preservation, as the confirming act of (self) care, while at the same time challenging this (self) caretaking. It exists within a period that can be called a personal crisis, where I’m now incapable of what I was capable of before, where the transgression, experiments and emancipation of self-preservation are barely within my reach and my day-to-day being has to exist mostly out of comfort.
The objects presented came to existence as a comfortable, regenerative gesture towards this need for preservation. They’re a constant reminder not to ‘work’ towards this presentation, but instead to care of myself and my surrounding by doing what gives me energy.www.bostokkermans.online