Madonna with mirror

2004-09 - Pfafava Palace, Venice

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Live concert

2004-07-07 - Salzburg, Austria

Being naked I lie on a piano in the center of Mozart Square, Salzburg, Austria.

At the same time a musician plays Mozart’s sonatas just at this piano.

In the end of the performance I get flowers as a prize.

A kind of irony on the cult of Wolfgang Amadeus Mozart, which reigns within tourist’s masses.

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Salzburg, Austria

2004-07-06 - Salzburg, Austria

Selling love for money – it is interesting for me to understand…

At the same time I am much interested in perceiving some unwritten laws of the criminal world. Selling love for money – the proper phenomenon is so hard to grasp. A woman, who stays on the street and looking for a car could be hardly recognized as a prostitute. You must proof, at the least, that she has her money from sex. Before you notify this definitely, you know nothing about who she really is.

But you never can see the moment of handing money. There is a law, quite secret but strict, which regulates relations within “selling love” situation: money must be paid before sex.
It’s funny to understand that the whole illegal situation has absolutely indisputable inner rules.
It is also interesting to break it out.

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Fresco as a documentation

2004-05-22 - Boswil, CH

As I am the performance artist I am much interested in how can I fix my performances, such a fleeting events? So that is, basically, how to keep alive artist’s personal intentions, inner feelings – on the level of a documentation?
Traditional ways to fix an action or a performance: myth, scandal or photo/video documentation give us only an external view or, quite the contrary, special individual interpretations.
How could be a spectator kept informed of full value after
So this makes me search for an adequate form of a performance representation. I guess this could be fresco, the long-liver genre-painting. Fresco’s main aim always was a notification related to the Event. So this is to fix a performance in the proper way. This is to reproduce the clou and the atmosphere of any performance.

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© Elena Kovylina, 2003-2008
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