Artists Duo: Yuki Kobayashi || Sandra Stanionyte
LOSE || CLOSE
Lose. Lose fear. Lose predictability, stay open. Lose yourself. Stay real and in the moment
Performance: Lose||Close 2016
Two Poles. World in Time 2016 Uppsala train station. Sweden. Duration – 1hour.
Two Poles. World in Time 2016. Krux Amsterdam, The Netherlands. Duration – 1hour.
Two Poles. World in Time 2016. Dover, UK. The border between England and Eu. The night before Brexit. Duration – 10hours.
Two Poles. World in Time 2017. Chiba, Japan. Duration – 1hour.
Two Poles. World in Time. Comeragh Mountains, Waterford, Ireland 2016. Duration-1 hour.
Two Poles. World in Time. Asylum CarolineGarden’s Chapel, SE15 2SQ London, UK. Duration-2 hours
Two Poles. World in Time. Chiba, Japan, 2017 Duration -1hour
Two Poles. World in Time. Tokyo 2017. Japan. Duration-1 hour.
Space for freedom and anti-alienation. |Artists: Roma Auskalnyte, Yuki Kobayashi, Sandra Stanionyte|
Group Exhibition in VDA ‘Titanikas’ gallery, 2017
Day 2. Duration-3 hours, Vilnius 2017
Trace Place, London 2016
Performance/video Trispalve/Three Color Flag || Sandra Stanionyte
We don’t know what but it will happen
[living in the licensed description]
living in [the] gallery
living in the [ ]
Week-long performance Limit Less 07/10/2016, Project space Kabinetas, Kaunas, Lithuania
See unseen [in] existing patterns
The live act of two artists raises questions about identity, human rights, nationality, using their bodies as an identification tool, not limited by a country and responding in the present moment. Yet what is the true meaning of being here and now, how do we represent this for the future as humans of the world? Intercultural event connecting Japan and Lithuania expands the question of nationality in a global context. Artists Sandra Stanionytė & Yuki Kobayashi present themselves as free from gender or nationality limits and their work as live and happening in the present moment. There’s a need to redefine body as an object, gender and human relations between two bodies, branding, advertising, commercialization of art, the artists’ need to self-sacrifice, inveterate structures and defitnitions once again. Challenging the entirety of technological and commercial cybernetic culture, social media, online imagery in order to seek stronger human connection to the real world. This performance is active and operating in historical, political and cultural fields, searching for new methods of identification in the current world’s situation.
“Body is our Passport, Body is our Identification, Body is our Identity”
Stamp @ Yuki Kobayashi
Emotion In Motion
2016 Revolve. Performance Art Days. Uppsala konstmuseum, Drottning Christinas väg 1E, 752 37 Uppsala, SE
2016. 6 F a c t F a c t o r F a c t o r y. KruxAmsterdam, 1019 AK Amsterdam, NL
Untitled / Performance / Duration: 1 hour / Dadaism 100 years anniversary festival, at Spiral, Tokyo, Japan
Was held on August 7, Spiral, Stillllive performance “Emotion in Motion”. Important thing / Dadaism 100 anniversary of the significance that I feel watching.
Women wearing a black suit is standing dignified. She covers the black suit with the black paint by using her red passport and then falls down again and again. Mix black paint with red. The man wearing a suit firmly ties a tube of plastic to his mouth with the black tape, begin to play/make a sound that does not become a voice. Woman who is wearing something like a cannon on her head paraded around the venue. With the noise of the machine, she would slowly approach every individual viewer and stare down to their face. The viewer though would not be able to see her face just a black void. On the other hand, women wearing a beautiful dress and high-heels parades around the venue and by physical touch of the body interferes and disturbs the viewer. Performer each one of them had to face the world in a terribly lonely way.
Although 100 years ago we experienced World War II and now it is over, today we live in the live stream of news of terror and fear of unknown. Internet network has connected us, but in the world as in the chemical reaction to it and what is happening it brings a lot of disruption.
The man wearing a suit will be naked, he wraps the black bowling ball into the world map. The tip of the tube extending from the mouth is branched into two, one is connected with the earth and ahead the other tube is connected to the mouth of the woman who is covered in red and black paint. The two of them around the Earth. It is as if we are looking at the human shared impossibility, painful, yet real. The map of the world is torn apart and a bowling ball comes out. Men wrap it in a new map of the world that it can be easily be torn apart again and connects it to the tube. This is an act such as exposing the vulnerability of the world where life is like a man’s show, comical ridiculousness of human beings. They are connected by the tube, namely the media that had expressed the ‘now’ in the whole body.
The question is why do they carry this performance now? and what does it mean to be a man of today’s modern world? Question for this world and the question for the act of performance – they’re closely intertwined.
Live, in the moment of the here and now, happened to be witnessed. You can see that is not little.
Off The Line, London 2016