The Placenta # 2 performance was held at the Liget Gallery on August 24, 2020. The performance was presented for the first time at the opening of the exhibition Anita Spingár – Westerlund and Syporca Whandal PLACENTA (Budapest Photo Festival 2020). Starting from the visual pieces, photos, montages, installations, and videos of the exhibition, he explored the dilemmas in the basic concept of the exhibition with presence, minimalist grotesque facial expressions, and sacred movement. The personal nature of the “tools” used in the performance highlights the general nature of motherhood from the generalization of symbolism, it does not seek to act on the basis of communal consciousness, but recalls everyone’s individual memories. The ambivalent pain of annihilation, of being put on the road, of futility, appears in the system of attitudes of objects made and used by my child and of my own body set in motion. Eventually, every mother is left alone with the memory of her own child, trying to share the mixed madness of the beauty of reaching the end of the journey, the tragedy and the joy. As our points of connection with each other\’s physical and mental development change, as moments of death and birth take shape in me, through the filter of my own and others\’ lives, so does performance, trusting that individual and symbolic objects and movement relationship, and the flexibility of the life feelings that make up the concept can elevate the emerging presence to a different sacred level. The concept of the Placenta exhibition and the performance: The exact limits of the physical extent of our own bodies are questioned by a mother’s photograph of a child that goes beyond the idiocy of smile albums and the egoism of “my child” to try to outline the mental-maturing stations of the stages of children’s lives. The children\’s image of the works shown here, starting from a photo or going into a photo, is an extended self-portrait, horcrux, reciprocal, time gate, allegorical depiction of people. Self-portraits. Carrying a child as a mother and then growing her breastfeeding for many years, an improved self-image of the mother’s extended body. Hocrux. During childbirth, the pre-maternal creature is destroyed. The primacy of the self-image takes second place, the intellectual and emotional essence of life enters the child’s body. Buried memories of our own childhood, our parents, our dead grandparents, the shadows of our time settle down in our children. Reciproc. As the child enters society (education) from his or her individual medium, the scale of distortions created by psychic and social pressures shows “sadomasochistic, in many cases horroristic, tools instead of family-friendly visuals. Reciprocal images because they do not show the wisdom and omniscience of adults in the sentimental mirror of childhood ignorance and innocence. Depiction of people appears not in portraits. Due to the lack of faces, the fullness of the body, it does not take the recipient into the personal kitsch of intimacy. The body images of children are free from the parental self-justification of the creative mothers, so they are able to truly preserve the dignity of their daughters and sons. They are gates of time because the human nucleus embodied in their children is the transcendent verb itself that can help us understand the impressions and fragments of memory of all of us as children. We ask our sharing questions in a flood of images of children shared on social media. What could be the physical parameters of ethical and even honest child representation, mother-body representation? How long can a pose take, capturing moments? How dear honest can a baby photo, a class group photo, a board photo be at all real? How long will society consider radical, unusual, but of course not pedophile child body representation, pregnant female representation, breastfeeding to be blasphemy? Children of creators, and children of spectators, what kind of photographic memory will they be proud of as adults? The performance is accompanied by electronic experimental noises from Xpldnglke a.k.a. (László Kiss), which are sounds created from the voices of our own children.
The performance is accompanied by electronic experimental noises from Xpldnglke a.k.a. (László Kiss), which are sounds created from the voices of our own children. Special thanks to Gábor Tóth, Tibor Várnagy.
Syporca Whandal short bio Syporca Whandal (1977-), artist, performer. She is the founder of SkhyzoKhyno Studio, and the member of the L1 Association, GLOBAL ART International Project, and the Zuriel Waise music formation. Her works in the visual, performative and musical fields show the maturity of experimentation, and thus its fragmentation and at the same time its excitement, in which he uses the interoperability of genre boundaries and the combination of technical means. Its most important solo exhibitions are in the Kinetic Ákom-Bákom Hungarian Workshop Gallery (Budapest, 2017), Nude RE-CON-TOUR in Hungarian Workshop Gallery (Budapest, 2018), Pataphysics Bakelite Multi Art Center (Budapest, 2019), Ecce Homo – Reload! / Pataphysics PH21 Gallery in the Project Room (Budapest, 2019), PLACENTA Hungarian Workshop Gallery (Budapest, 2020), as a part of the Budapest Photo Festival. She has participated in several domestic and international group exhibitions and festivals, including the kArton Gallery INSPIRAL Stickers @ cardboard exhibition (Budapest, 2016), the MODEM at the Antiengszer extra exhibition (Debrecen, 2017), and the Satura Art Gallery at the Eroticamente exhibition (Genoa, Italy, 2017), in the B32 Gallery at the MET Stickers exhibition (Budapest, 2017), in the PH21 Gallery at the CorpoRealities exhibition (Budapest, 2018), in the 2B Gallery at the Common Jam exhibition in connection with the CAFe Budapest Contemporary Art Festival (Budapest, 2018), at the Palazzo Velli Expo at the Digital Art Factory (Rome, Italy, 2018), at the Shonan International Abstarct Art Exhibition GLOBAL ART Project & Art WALL at the SZK Gallery (Chigasaki, Japan, 2018, 2019, 2020), SOBOBADE Gallery at the GLOBAL ART Project exhibition (Dakar, Senegal, 2019), the Transart Communication Festival (Éesekújvár, Slovakia, 2018, 2019), the Ludwig Museum with the “Slow Life. Radical everyday life. ” exhibition (Budapest, 2020).