{"id":57844,"date":"2024-10-01T17:53:31","date_gmt":"2024-10-01T15:53:31","guid":{"rendered":"https:\/\/bognaburska.pl\/?post_type=dt_portfolio&p=57844"},"modified":"2024-11-06T11:31:13","modified_gmt":"2024-11-06T10:31:13","slug":"tyzyfone-i-alekto-film","status":"publish","type":"dt_portfolio","link":"https:\/\/bognaburska.pl\/en\/project\/tyzyfone-i-alekto-film\/","title":{"rendered":"Tisiphone and Alecto<\/em>"},"content":{"rendered":"
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< art film<\/a><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Tisiphone and Alecto<\/em><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>
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2017
\nBogna Burska \/ Ewa Hevelke \/ Micha\u0142 Januszaniec
\nperformed by:<\/strong> Klara Bielawka, Anna Ilczuk, Andrzej K\u0142ak
\nmusic:<\/strong> Sean Palmer and Jakub Pa\u0142ys
\nperformed by:<\/strong> POLIN Choir – El\u017cbieta Balano, Iwona Go\u017adzikowska, Anna Jurkiewicz, Wies\u0142aw Majos, Natalia Obr\u0119bska, Sean Palmer, Jakub Pa\u0142ys, Karol Zdziech
\ncostumes:<\/strong> Pola Tyszowiecka and Maldoror’s dress
\ncurators:<\/strong> Ma\u0142gorzata Stolarska-Fronia, Natalia Andrzejewska
\nchoir curator:<\/strong> Ewa Chomicka
\nmedical consultation:<\/strong> Piotr Hevelke
\nspecial thanks to:<\/strong> Barbara Hanicka, Natalia Andrzejewska, the Culture Office of the City of Warsaw, and the Powszechny Theatre in Warsaw<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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In a complex production made for the POLIN Museum in connection with the exhibition Blood: Uniting & Dividing<\/em>, the artist returned to blood-related themes. However, she was no longer focused on exposing the presence of violence in pop culture. The title Tisiphone and Alecto<\/em>, referring to the names of two of the three Erinyes (Furies), clearly indicates that the artist is reaching back in time \u2013 to Greek mythology but also to the Bible, with the opening dialogue referencing the Book of Genesis.
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In the play\u2019s \u201cintergenerational\u201d performative action, a symbolic \u201cdrop of blood\u201d moves between the Erinyes \u2013 who originally came into being from the blood spilled during the castration of Uranus, and who onstage are connected by a red thread and in constant motion. All of this is interspersed with confessions of toxic family relations and a story told by Micha\u0142 Januszaniec, co-author of many of Burska\u2019s films, about the marital entanglements kept hidden away from the world by the narrator\u2019s forebears. The film as a whole not only exposes certain obsessions with the notion of kinship and inherited traits, but also reveals eugenic convictions about racial hierarchy deeply rooted in post-Nuremberg society. The absurdity of such thinking is emphasized by the choir singing scientific descriptions of how blood functions in the human body.
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It is worth noting that this production was preceded by the famous Black March in Poland, which revealed the potential of women \u2013 the titular Furies, who are tireless avengers in Burska\u2019s work. The mass protests led by Polish women in the fall of 2020 provided confirmation of their strength.
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From the text by Wiktoria Kozio\u0142 Strangely Practicing All the World’s Imperfections. The Tragi-grotesques of Bogna Burska<\/em>, catalogue Blood and Sugar. Bogna Burska 2000-2021<\/em><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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