Art on Stage presents Lala Rascic and Vuneny

Sorry, Wrong Number
sergi acilis: 22 Nisan 19:30
yer: Apartman projesi

Lala Rascic&Vuneny performance: 23 Nisan 22:00
yer: Studio-Live, Agacami Sokagi

While Rascic’s work revolves around video performances showing the artist enacting multiple roles in her audio drama inspired videos, in Istanbul the artist will stage a premiere of her newest script. This will be the first time that Lala Rascic delivers her performance in front of a live audience, instead of the camera.

The performance bears the name “Individual Utopias”, as is the title of the script that the artist wrote early this year. The script is based on a true event of which the artist herself was a witness. The performance is part of a larger exhibition project scheduled for early June.

Invited to join a workshop in Mostar in autumn 2007, Rascic found herself in the midst of a number of issues that are plaguing contemporary Bosnia And Herzegovina. While the workshop itself was a fiasco the artist recognized a strong dramatic potential in the events that occurred and in it found a basis for her new project.
“Individual Utopias” is a tragic - comic account of the frustrations and absurdities that can take place in a de-regulated and segregated environment such as post-war Mostar.

Sarajevo born artist Lala Rascic teams up with Mostar band Vuneny to perform her version of audio theater for Art On Stage. A hybrid form of a script rehearsal and theatrical performance Rascic will cast herself as a number of characters, delivering her lines in interaction with the electronic and instrumental sonic support by Vuneny.

A closer look into Rascic’s work will be taking place in Apartman Projesi, where her
video installation “Sorry wrong number” will be on view from 22.04. The integral version for the “Individual Utopias” script will be presented and available for the visitors of the exhibition to take home and read thru before seeing the same script performed the next day, 23.04 in Studio Live.

While Rascic maintains a care for the “entertainment” quality in her work, the subverted message is no laughing matter. At a closer look, the seemingly humorous works are a satirical comment on contemporary society.