Why nudity? Why nudity in live art? Why nudity in live art and performance? I´m interested in the power of nudity, dealing with being objectified or even perceived as mad? When being nude in performances I find my own somatic movement and articulation within the physical research method. Could it be perceived as a performative conceptual art form beyond the fact that I am nude?
Silvia Cazau, 2015:“The key component is that nudity should not be looked at as if it is part of the body and a natural state, but rather as it is a thing in itself. Nudity is hard to be looked at, especially due to the perception of it. While in some cultures and religions nudity is completely forbidden, European, for example, is more open to this kind of artistic practice. Exposing the body needs a precise context and concepts to be worked with, in order to do something other than just a simple exposure.” My body is political and communicate traces of stories. Stories of childhood, partnerships and friendships. Stories of sex, obsessions and desires. Stories of violence, oppression and fear. Stories of norms and integrity. My experience is that my nude - ageing - body performed in live art very fast reveals prejudices of which body that should be presented and represented in our western society and in art. I wanted to challenge its fear for bodies that tell other stories through its nude statement and slow movement. Within this task I tried ideas of masks, body masks. I coloured my skin white. The slow movements are improvised and come from contemporary dance technique and choreography through “instant composition”. Starting point: pleasure and curiosity. The transformation from a natural nude body to a white coloured body seemed to function as an imagined or even fictive body, where the spectators where given the authority to interpret the understanding of my performance. They became authors of their own stories in the moment. Associations to sex and obsessions where often brought up as something they wanted to depute the experienced act.