Eszter salamon biography

Shot against the backdrop of the Muzeum Susch, in Switzerland, this cinematic speculation on history and archives is the first of a trilogy. In a sensorial landscape, organic and inorganic bodies, material, and immaterial intensities coexist to form a polyphonic world. This sensorial and fictional journey unfolding through 11 monochrome sequences will spill out in the museum space in their future collaboration planned for By breaking away from the mute dancing body, in her work took a significant turn by expanding choreography to include voice and narration.

The Monument series Since , Eszter Salamon has been working on a series of works re-thinking the monument and exploring ways of re-hallucinating history without the promise of teleology. In these works, memory is created to counter fantasies of identity, authenticity, and origin. These monuments are embodied, performative, and temporal.

Eszter salamon biography

They are conceived as processes of emancipation from positivist conceptions of history and to protect against amnesia. They are thought of as anti-monuments, always numbered below the threshold of 1. The monuments are occasions that resist oblivion and exclusion and have the potential to transform and repair as they invest in the act of creating memory, which is their capacity to build narratives through performative archives of poetic documents.

When celebrating forgotten artists, aging bodies, rhythms, and the gestures of oppressed cultures, these monuments compose fragments and transform traces into new meanings without fixing them as relics. It looks at the past years as a history of wars with the First world's manifold implications in the wars happening elsewhere. Extending her previous work on homonyms and female autobiography, it takes the form of a continuous live exhibition for three actresses.

Performance, documentary work and auto-fiction are combined to create a vehicle for multiple perspectives on the fragile and permeable construction of identity and its performativity. For a period of four weeks and for six hour a day during opening times, the Jeu de Paume will resound with the voice and with the echoes of this diffracted, amplified life, identity within identity.

Reciting the words exchanged between one Eszter Salamon and another, the actresses, one at a time, will embody these subjective snippets in which a chance name comes up against historic 20th-century events and anecdotes. The work explores a variety of questions: To what extent do we edit our own lives? What is reality and what is fiction? What is memory and what is imagination or interpretation?

How does an older woman deal with her own past? It flourishes as a porous, affective scene of identification among strangers that promises a certain experience of belonging.