Public Programme | 5.11.22 | Zine Camp Rotterdam (NL)

Between Four Walls was a public program created in collaboration with PrintRoom, Rotterdam. Over the course of three nomadic events from November to December 2022, the program featured artist talks, screenings and performances. It officially launched 16 10 20, an anthology of performance scores.

The first of these events took place on the 5th November 2022 within the framework of the ’22 edition of Zine Camp at WORM.

Ingvild Syntropia presented Time is a bird in the backyard, a short talk on deep time. Describing the talk, Ingvild reflects: “On average we only have 4000 weeks to live. A third of that time is spent sleeping, and for most of us, another third, or 80.000 hours, is spent working, often in jobs that are a means to other ends. And so we are left with a precious one third of earthly existence to do as we please. What is time well spent? What can we learn from geological time, or from how a plant or a donkey exists in time? Can art and nature reframe our oftentimes artificial relation to Chronos and help us live more fully in deep time?”

Karolina Rupp and Rachel Pursglove presented the performance Take Care. Moving organically throughout the building but centralising at one of the foyers of WORM, the performance is a durational work relating to the notions of care, ritual and play. Karolina and Rachel drew on previous collaborative experiments with scores, call and response methods and relationality, interweaving these methods with the site-specificity of the building.

Elena Kostenko premiered her film Grounding. Her film sees pieces of clay, ground, residuals of dust, and leaves from the oldest oak of the Morhbian region (France) collected and mixed with similar materials from The Netherlands, Russia, China, USA and Kazakhstan – all lands in which Elena has lived. The film continues with a material transformation into clay flowers that carry traces of fingerprints. After being fired and masked by glazing and pigments, the flowers were assembled with ripped, dyed canvas, steel wire, and turned into a dependent-on-support sculpture. The film brings us to the medieval sites of Vannes – Elena’s current location – where these sculptures find their support and become a part of the sites’ body.