Dagmar I. Glausnitzer-Smith
The Language of Cup
The understanding of the conventional object ‘cup’ is taken from a possible disposition, as it is travelling between the origin liquid to the destination of lips. It is seen as a vehicle between two states: the physical material object as it is transporting liquids between the pot and a person and the cup being used for drinking with the desire of satisfying the feeling of thirst.
The cup contains not only emptiness but holds the potential of being a functional carrier. The physical characteristics may be plastic or ceramics or metal. In its silver depiction it determines the winner and represents the trophy of a distinct competition. The cup as a chalice performs a religious ritual of sharing a communal sign in some instances the distribution of blood as in the legend of the holy grail. The word from its known-Spanish and known Portuguese origin refers to a vessel/cup used as a mortar and drinking device.
The cup, which holds the wind and the breath never fulfills its purpose and denies its conventional function. Though it maintains a fragility dispensed through the handling of it. One or more cups prevail a distant ambiguity as they withdraw from their known objective. The Performance is a reification and suggests the possible inability of taking the existential language as credible in its turn. Emphasis is given to the gap between description and structure to make the constituting language of existence and appearance somewhat congruent admitting the challenge of theoretical construct and heuristic fiction.
Perhaps the action accumulates in the transformation of the object/event to ‘analytic concept’ and opening the gap to restore a full referent status.
Glausnitzer (DE) examines several aspects of collecting objects, the recollection of past ideas and images, voice and autobiography by means of ‘Performance Art’ and ‘Performance for the Camera’. There is a process of understanding ‘Self’ as portraiture or as non-linear actions in space. Three-dimensional images reflect a temporary trueness to the artist’s enquiry, and inventive methods facilitate to re-position herself in the world of Life’s occurrences. Negotiations between being in the ‘now’ in the absence of image concurs with projections of data and material of planning.
Live Actions and exhibitions took place in the USA, Germany, UK, France, Scotland, Denmark, Austria, New Zealand, Cyprus, Finland. She has been part of the Month of Performance Art, MPA-B Berlin 2012, 2013, 2015 and presented Live Performances and Performance Art Workshops at 1st and 2nd Cyprus International Performance Art Festival 2013 and 2014, Live Performance Work with epitelesis – Performance Art Foundation in Athens 2014 at ArtWall Gallery and 2015 LAPSody Helsinki, International Performance Art Conference, TEAK with Live Performances, Lecture and Workshop Day, China 2015 Live Art Tour #2, Beijing, Tianjin, Shen Zhen, January 2016 Solo Exhibition and Live Performances Kunstfoerderverein Schoeningen, Exhibition and Live Performances at Parabiosis, Chongqing Museum of Contemporary Art, China, June 2016 facilitating Performance Art Workshops in Beijing and Tianjin, China.