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A multi-media work developed during the 2017-2018 LEIMAY Fellowship

Performed at SOAK, City Tech, Brooklyn, New York, June 16, 2018

Duration 18 minutes 

 

In a destroyed world, Lilith is the lone survivor. She sits on a stage on a pile of black and orange cables. One large screen is behind her playing two looping images – two hands spiraling towards one another slowly and the blue screen that shows there is no video signal. She wears another tablet screen on her chest, and she holds a TV screen tightly in her arms. These two screens encapsulate the last tree on earth, swaying in the wind. 

 

Lilith has nothing to do but long for the lost world. She cries – her whole body utters singular sounds starting with S, and then moving towards O and A. The videos appear to glitch. They switch to an image of a woman eating dirt. The cries continue. The videos switch again. The same woman, now naked, is brushing her hair over and over again. And then the tree returns. 

 

Lilith screams, stands up, points to the sky, licks her arm, makes a singular sound that turns into a laugh, and stands in front of a projector that plays only colored bars and static. She appears demonic, sexual. 

 

The work continues with these loops - videos, utterances, gestures, actions - these repetitions have no recognizable linear narrative and begin to create their own post-apocalyptic logic. 

 

The videos and live actions make reference to previous performances by Polina (Brush, Soil and Dirt, 2014 and One and Not the Same Skin 2013). She also pays homage to a lineage of performances by re-performing two iconic works one from Ana Mendieta (Body Tracks, 1973) and one from Marina Abramović (Freeing the voice, 1976)

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Link to full performance