TAMASHA is a temporary title for a long term dialogue that katerina and setareh had in the past years. This dialogue is nomadic and wanders through places, contexts and articulations.  

 

As a practise TAMASHA engages with 

wondering, walking and gazing at/in a view, 

where 

while moving and framing, 

image is seen in its ephemerality 

and what is left out of the frame 

is imagined constantly.

 

TAMASHA invites multiple gazes and welcomes screens.

We propose

skin as a surface

space as a skin

screen as a space. 

 

Aylar's painting “1492 kilometers from (t)here” and Saina and Reyhan's gaze will be with us in Tehran and Amsterdam in 18th May 2022 to further imagine. 

 

You might need your phones and headphones.

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digital image of painting by aylar dastgiri 

filming by saina salarian and reyhaneh mehrad

production ayda abasalizadeh and setareh fatehi

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Bio

Setareh Fatehi

is based in Tehran and Amsterdam (pronoun: او). Creating translocal collaborative spaces underlies setareh’s research-practice. Setareh explores the technologies of remote hosting across “distanced” localities by focusing on the notion of “body”. This focus considers the bodies presence and subjectivity, where it has the agency, value and right to be fluid and opaque. او challenges the mandate of physical presence as an obligation for having access to material and intellectual resources. She examines the possibilities of gathering across distanced localities by parsing the notion of presence into body, time and space. 

 

How does the body transform when its corporeal presence “can” not or is not “allowed” to be shared? How can we relate to corporeality from a distance? In dialogue with the discourse of translocality, setareh embraces the contextual discrepancies that complicates the notion of body, and therefore its locality and transience. Since being rewarded a dual citizenship, setareh’s inseparable glitching software and “wetware”, which او calls my body, has been dealing with its resisting, dis-located, ghostly, errant, encrypted, skinful, viral and mobile materiality. 

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Katerina Bakatsaki

What if human bodies are not self-contained entities? And what if physical experience and its meaning for us never evolve in isolation but rather through intricate webs of connectedness? Just like the weather. How would such a view on the ecology of experience question certainties regarding how we form self and identity? How would that affect the hierarchies between bodies and other bodies, textures, instruments, tools, surfaces, spaces, buildings, landscapes, and so on?

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Such questions recur in the work of choreographer, teacher and researcher Katerina Bakatsaki.  Bakatsaki is a lecturer at the Utrecht University of the Arts (HKU) and is a regular guest teacher and mentor in various art academies both in the Netherlands and abroad. She has choreographed and performed an extensive body of work and has been involved with interdisciplinary activities throughout Europe, in Chile, Taiwan, Iran and Japan. Bakatsaki has developed atypical projects in places such as private and semi-public spaces and marginalised urban environments. For example, homes for the elderly, day-centres for people with substance use disorder without a home, day-care centres for people living with a mental illness, and “Blijf van mijn Lijf” shelters for survivors of domestic abuse.

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