In the autumn of 2020 I started a series of performances on the island of Dordrecht with the title Indistinguishability.
During my studies I read Clair Bishop's book Artificial Hells, a standard work on contemporary performance art. Looking back, there were two actions that sparked my special interest. These were the Excursión a Saint Julien-le-Pauvre (Paris, April 14, 1921), a Dada excursion to uninteresting spots in the city and Zones of Indistinguishability, an art movement in Moscow in the 1960s and 1970s. Especially the word indistinguishability had my fascination. The art world was regulated by the communist state, so the unregulated art went underground, it became indistinguishable. Art was made in apartments and in areas far outside the city.
In my own work I usually act on the margins. Literally, in tunnels, corridors and parks where people walk carelessly through. But also figuratively, the elderly I work for as a nurse inspire me. They too move into the margins of society. They are also hidden, not visible. In hiding from society until they pass away. Now during these times of a pandemic, I don't feel visible as an artist. I have to reinvent myself independently of all institutions and structures, which are standing still or closed because of the lockdown. Now I make my art in nature and in parks or squares in the city. With that I mainly focus on the casual spectator, people who happen to pass by, walk the dog or speak to me from the window of their apartment. I make art in the moment for the people who are witnessing it at that moment. What they take from it, that it is the artwork.
