or Entartete Kunst,
Cultural Center Zamek,
Imperial Castle in Poznan, Poland
Performance on the name fo all women victims of patriarchal rules, so the rules imposed my monotheistic religions and the consequences that had affected society, turning this world into a sexist nightmare… Making an emphasis on the poor treatment that women in Poland and other alike countries have to endure. Pregnancy through rape and domestic violence are often just ignored and the victim is even punished. The performance plays at Adolf Hitler’s private cabinet, the room which was formerly the chapel before the Nazis tuck over. (statement by the artist)
In Sara Glaxia’s work, the relation between production of the “self” through photography and the problem of the “I’s” authenticity is defined throughly differently. These are her personal experiences that the artist hyperbolises and transcribes into the contest of performances “about her self” . Glaxia works mostly with her own image and the masquerade of being, while photography remains for her yet another area of operation that enables her to produce and distribute her own image. Documentation of Glaxia’s narrative and performances reveals the performative character of photography operating simultaneously as an independent medium, and as one associated with her performances.
TECHNICS OF RELEASE © Galeria Fotografi pf, 2015, Book Published by ZAMEK Culture Center, Poznan, Poland, p. 130