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Variation on Broken Lines

Moving image assemblage, live performance, sound and installation (2019–ongoing)

“Time is coming to be seen as essential dimension of being as well as multi-perspectival, no longer

  merely as a linear continuum conceived in spatial term.” —Victor Turner

 

Variations on Broken Lines is a performative installation emerging from an ongoing research-based project that explores notions of liminality and experiences of being suspended between states across space and time.

 

The anthropologist Victor Turner, in Process, Performance, and Pilgrimage, calls this being “betwixt and between”—a state of ambiguous suspension and transition, where the simultaneity of space-time places us neither here nor there, and where selfhood and collectivity are continuously constructed and challenged. The first iteration of the installation was conceived in 2020 during the pandemic, which cast the world into a collective global rite of passage marked by separation from familiar space-times as life became mediated through computer screens and virtual grids. These transformative experiences are manifested through performative rituals and artistic interventions between the physical and the virtual, the corporeal and the digital, and through an ongoing dwelling beyond time and space, where movements are ritualized and where social, cultural, and political identities are formed and reformed as poetic gestures of becoming.Through experimental cinematic assemblage and its reconstruction in an installation environment, the project embodies these liminal experiences that become an emancipatory and creative tool.

​​An assemblage of moving image, animation, screendance, and video projection, composed from archival recordings and documentation produced during collaborative experimental dance and performance mediated through the digital (2018–2020). These performances specifically explored the liminal experience of performing in virtual space. Through digital choreography, the assemblage is constructed into a multidimensional environment. Projected through a composition of sculptural objects, mirrors, prisms, and holographic film, luminous movement creates an amalgamation of calligraphic forms, geometric symbols, and bodily gestures unfolding cinematically. Through the temporal layering of physical and virtual, the installation becomes a multi-sensory, palpable environment, breaking physical and visual lines and fracturing and reassembling lines in the context of time, ritual, and memory. The assemblage is dynamic and site-responsive, reconfigured for each iteration to the installation space.

Links / Texts

 

Support, Credits, Acknowledgments

  • This research-creation and the production of the first iteration were generously supported by the Social Sciences and Humanities Research Council (SSHRC) through a Joseph-Armand Bombardier Canada Graduate Scholarship.

  • Acknowledgment: Cinzia Cavalieri, Maria Kravchenko, Mahsa Alikhani, Jemaa, Sebastian Ureamuno, Marc-André Weibezahn, Diana Yoo, Kunstbereit e.V. Berlin, Cristina Negucioiu.

  • This research-creation project culminates my MFA thesis research at York University. Special thanks to the YorkU committee: Suzy Lake, Yvonne Singer, and Yam Lau. Archive / conservation: Dr. Ruth Del Fresno Gulliem.

Installation views

Gales Gallery (2020)

Multi-channel video projection, moving image sculpture, wooden surfaces, holographic panel, mirrors and prisms. Live performance by Lo Bil and Cinzia Cavalieri

Lamashu Artspace (2023)

Multi channel projection, moving-image sculpture, prism, mirror, rug, sound, holographic panel, AR augmented reality (AR). Body sensors: Sonic moves, Marc-André. Live performance by Alireza Keymanesh, Maria Kravchenko, Elham Fatapour, Elsa Hashemi

Nuit Blanche Toronto (2022)

Multi-channel projection, textile, sound. Live performance by Shabnam Afrand & Maria Kravchenko. Photographes by Stan Williams

@ By Nava Messas-Waxman 2015 

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