Filipina-Danish Artist Lilibeth Cuenca Rasmussen at the 54th Venice Biennale
1. Congratulations on the success of your work at the Venice Biennale. Can you share your experience being a part of it? Any particular moments (in making/and during the exhibition) that struck you - (so far)?
The Venice Bienale the best exposure I have experienced so far. My piece was very well received. It was intense in terms of direct feedback from the audience and the press - it was lots of fun.
2. Can you tell us about your piece in this year's Venice Biennale?
I was invited to produce a new performance for the group exhibition Speech Matters and the theme was Freedom of Speech.
At that time I was researching on Arabic and Middle Eastern culture specifically about their traditions on masculinity and femininity.
The overall concept was that I would like to serve as a mouth piece to those who doesn´t have a voice in their respective society - people who are repressed.
It was a new path for me to work with a culture I didn´t have knowledge about or a place I have never been before.
My piece Afghan Hound is about gender constructions enforced by social rules and society in the Afghan culture. I impersonate four carachters: Malalai Joya (a female politician, activist, who lives undercover), a Warlord, a Bacha Bazi (playing boy) and Bacha Posh (girl as boy). I have written their stories as four songs. The performance was staged using music, lyrics and costume(s).
The costume is made of black hair that covers me from top to toe like a burhka. Normally, hair is hidden behind the burkha, in my setting, the hair is worn on the out side. Symbolically the hair illustrates the hidden sexualities. The dramaturgy is met with the hair moving around my body during the performance as I impersonate 3 ½ genders - first as Malalai Joya behind the burhka hair where her identity is hidden and whose alias in real life is M.J., next as a warlord who wears a kaftan and through which the hair takes form as a huge beard. The third character I transform into is the Bacha Bazi - a boy who is forced to dress and dance as a girl. Bacha Bazis are entertainers in mens parties, where no women are allowed, and later on used for sex. The hair goes between the legs like a skirt while the kaftan transforms into a blouse. The last transformation is a Bacha Posh - a woman, who in her childhood was forced to dress as a boy because there were no boys born in the family. When she becomes a woman, she is required to change her social habitus, and consequently looses her freedom. At the end of the performance I cover myself up in the burkha hair.
I am revealing stories about complex gender constructions and how they are enforced by a social order, rather than as a personal choice of the individual. In regards to the title, Afghan Hound alludes to the dogs that are completely covered with hair. The costumes are inspired by this canine species. I decided to focus on Afghan stories when i was struck with the idea of using dogs in a metaphorical sense as visuals in the performance.
3. Would you say that it is political? Does politics play a role in your general body of work? Why so/ or not?
Regarding Afghanistan, we have heard more about the Western troupes than from the Afghan civilians. Where are their voices?
Afghan Hound is my commentary on how we, being situated in the West, seem incapable of understanding cultures other than our own. We are not really listening to those we are trying to help. To extend aid is often grounded on self-interest and requires getting something in return.
The Afghan war, and overall situation, is complex and difficult to understand from the outsider's point of view. It is deeply rooted in the power structure of their society which consists of traditions, ethnic diversions, and a dominating masculine culture that is repressive towards women.
My works concern political issues on a micro level. It describes human conditions in the contemporary perspective. I use art as a tool to make my audience think twice about contemporary issues. Afghan Hound it is a complex political piece.
4. Have you been back to the Philippines? What is your general recollection of the Philippines? Can you share your personal history and how that influences you in creating work?
I have been returning to the Philippines frequently since 1997. Those trips have resulted in a long body of documentary video works produced between 1997-2007.
I have a dual ethnic background. My mother is Filipina, and I was born in Manila where we lived until I was eight years old. My father is Danish and we moved to his province in Denmark in 1978. Apart from one year stays abroad - twice in the USA, then France and Spain - I have been based in Denmark.)
Denmark is still pre-dominantly a mono-cultural society and is not used to foreigners and diversity.
Even with my Danish background, I have always been confronted with my foreign appearance but mostly positive approaches based on curiosity. As a teenager, I felt very bothered about being exoticised. When I started to work with art I realized I could use my story as a fruitful source. Consequently this enriches others, particularly people who follow my work.
5. Denmark seems to have a good history in providing strong support for the arts. Can you describe what its like being supported by your cultural institution?
Denmark is a small country isolated in the North. It can never be the center of the world nor the art scene. Therefore it is important to promote and support Danish artists to be exposed and challenged abroad.
The Danish Arts Council focuses on this mission through inter cultural-collaborations and dialogue. This is a very privileged situation and it makes it possible for me to continue working with performance and experimental art full time.
6. Can you compare the cultural institution of Denmark to some of its European counterparts?
You´ll find similar support in all Nordic countries and Holland. In countries further south like Germany, Switzerland, France, Italy, Austria, the art tradition is stronger and is situated on a higher level. Though the support from the government is less, private funding, sponsorships and private galleries play a major role.
7. How did you find out that your path was to pursue a career in the arts?
I have tried several paths before I turned 25 and I never felt complete - whether it was studying in a university, dancing or being a globetrotter. In the arts I can make use of and combine these interests while having the freedom to experiment with genres in an unconventional way. This is the place where I feel most challenged.
8. Is your work mostly performance/ process based?
Performance has been my focus since 2006. It started with my piece Absolute Exotic (2005) - a video that I had the opportunity to do a live version of. And this was the kick start for me to work with performance.
With working immaterially, being the art object is a very powerful medium. But what is there after the performance? Being exposed and traveling a lot creates a lifestyle that makes you restless. Object based works provides me tranquility, economical stability and the satisfaction of having a piece that stands on its own and can travel without me. However the objects are still performative.
9. Can you share the progression of the mediums that you have worked with?
In retrospect, I realize my works change direction approximately every five years. It started with performative video and photography while my several return trips to the Philippines resulted in documentary based works. Eventually I started to work on performative documentary. My works also moved to become more politicised in a global perspective rather than on a local or personal level.
In performance I can elaborate my theatrical expression. For three to four years, I did reenactments or versions of works by other performance artists, which you can describe as “art about art” or referential art pieces. Lately I have started to work with photography again and objects - a path I would like to explore more.
My body of work is eclectic and seeks to represent every part of me. The narratives around my work carries themes of identity, gender and other socio-cultural topics. All in all I see myself as a story teller.
10. Who and what are your influences in creating work? Can you please share why so?
My main sources are stories from real life and real people. I am affected by injustice and discrimination. These make me angry and I want to speak out loud about these issues – which is the very thing I try to do and I use art as a tool.
In terms of expression, I am not inspired by other artists but rather by the filmmaker Lars von Trier, anddivas like Malene Dietrich and Liva Weel.
11. We are very excited with what's in store for you and how you have been inspiring us in this early stage of your career. What are you working on now, and what's next?
This fall I will be touring with the performance Afghan Hound and object-based works that supplement this story.
Besides preparing shows and new works for 2012, I am also working on a film that takes place in Syria with a Syrian filmmaker and I think this is going to be interesting.
I also hope to show my works in the Philippines in the future. For now, only my Filipino family knows about my works.
Thanks.
Afghan Hound
4 songs and performance
by Lilibeth Cuenca Rasmussen from 2011
Duration: 15 minutes
Lyrics: Lilibeth Cuenca Rasmussen
Composer: Anders Christophersen
Costume Designer: Lise Klitten
Video Still and Video: Thilo Frank
Editor: Niels Plenge
Photographer: Anders Sune Berg
1. Song: Malalai Joya
Drop by drop a river is formed…
Dust has been thrown in the eyes of the world
I was exploited as a symbol of peace
Nothing has changed our unease will increase
Don’t stop a donkey that isn’t yours
You’re handing over arms to the wrong boys
Same donkey with a new saddle
Keep your distance: We must fight our own battle
Alias - I am not what you see
Everything is secret about me
Days and years of hide and seek-ness
No way can I reveal my weakness
Don’t stop a donkey that isn’t yours
You’re handing over arms to the wrong boys
Same donkey with a new saddle
Keep your distance: We must fight our own battle
My man and I are never alone
Each night we sleep in a different home
Dependent on the kindness of strangers
Who try to keep us out of danger
Don’t stop a donkey that isn’t yours
You’re handing over arms to the wrong boys
Same donkey with a new saddle
Keep your distance: We must fight our own battle
The silence of good people is much worse
Than the violent laws they try and enforce
One flower doesn’t bring spring
I will fight until I hear my people sing
Don’t stop a donkey that isn’t yours
You’re handing over arms to the wrong boys
Same donkey with a new saddle
Keep your distance: We must fight our own battle
2. Song: Leave the Power
Your Western eyes
Judging! Preaching! About Human Rights
You choose which conflicts you want to see
Your sympathy and aid are never for free
Your leaders pay me to dictate
You and I have agreed on this trade
To access cheap labour, oil and petrol
Keeping us in debt and under your control
It’s happy hour, double up
I will never leave the power, huh!
It’s happy hour, double up
I will never leave the power, huh!
Ideas of liberty could land me in jail
My ideologies are fully for sale
My political choice - support the authority
Or wind up as a refugee
Your Western eyes
Judging! Preaching! about Womens Rights
You chose which conflicts you want to see
Your sympathy and aid –they’re never for free
It’s the balance of Nature that I keep
For each life I take I plant a new seed
I kill and I rape without debate
This is part of the deal that we made, remember?
Your Western eyes
Judging,! Preaching! About Womens Rights
You chose which conflicts you want to see
Your sympathy and aid are not ever for free
Female company is too complex
I prefer a boy when I need sex
Women are useless whores
Only of use when they breed boys
Your Western eyes
Judging! Preaching! About Womens Rights
You chose which conflicts you want to see
Your sympathy and aid are never for free
You can trash your illusions about equality
Even nature is based upon hierarchy
Economy is what determines “Democracy”
Now that’s what I call hypocrisy
Your Western eyes
Judging! Preaching! About Womens Rights
You chose which conflicts you want to see
Your sympathy and aid are never for free
It is happy hour, double up
I will never leave the power, huh
It is happy hour, double up
I will never leave the power, huh
3. Song: The Dance is my Chance
The power of sex
Makes the master
A slave to his slave
Horny men
Can’t get enough
A brutish smell
When I ring my bell
Wonder toy
Wonder boy
Wonder girl
Is a wonder boy
To play with a boy
Gives him pleasure and joy
Pleasure and joy
To play with a boy
Putting men into a trance
The girly dance
Is my only chance
The power of sex
Makes the master
A slave to his slave
Boy boy boy
Girl girl girl
Boy- girl- boy
Body no cares
Freedom for a slave
Equals the grave
Wonder toy
Wonder boy
Wonder girl
Is a wonderful boy
To play with a boy
Gives him pleasure and joy
Pleasure and joy
To play with a boy
Putting men into a trance
The girly dance
Is my only chance
Boy boy boy
Girl girl girl
Boy- girl- boy
Body no cares
Reaching puberty at the great cost
Of a masculinity already lost
My next obstructions
The streets or marriage –are my only options
Boy boy boy
Girl girl girl
Boy- girl- boy
Body no cares
Wonder Toy
Wonder girl
Wonder girl
Is a wonderful boy
To play with a boy
Gives him pleasure and joy
Pleasure and joy
To play with a boy
If I stay with my master
I marry his daughter
If I bring them boys, I am safe
But remain forever his slave
4. Song: Dead woman walking
My first tomb
Was my mother’s womb
Then came my groom
Then the nuptial room
Followed by the baby boom
Boom boom
Until my teens my days were mad
Forced by family to act as a lad
Behind the clothes I could hide their shame
In becoming a woman I was their burden again
I am young and I want to live
But I am not afraid of death
Killing me over and over
Each time I grow fearless, bolder
The taste of independence was sweet
This adaptation brings me grief
Men are doped by war and drugs
Taking a woman’s life is like killing a bug
I am young and I want to live
But I am not afraid of death
Killing me over and over
Each time I grow fearless, bolder
The up to the minute craze
Women setting their bodies ablaze
A live woman has no choice
A dead body might be given voice
I am young and I want to live
But I am not afraid of death
Killing me over and over
Each time I grow fearless, bolder
Drop by drop a river is formed…
Dust has been thrown in the eyes of the world
I was exploited as a symbol of peace
But nothing has changed, our unease will increase
Don’t stop a donkey that isn’t yours
You’re handing over arms to the wrong boys
It´s the same donkey with a new saddle
Remove your troops: We must fight our own battle
About Lilibeth Cuenca Rasmussen
Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen, Denmark. She is a graduate from The Royal Danish Academy of Fine Arts Copenhagen (1996-2002). She primarily engages in video and performance art. Taking her own Danish-Filipino background as a point of departure, Cuenca gathers, adapts, and universalizes her narratives in both a critical and humorous approach in regards to issues such as identity, culture, religion, gender, social relations and art history by re- staging historical performances of other artists. Her productions involve scripted texts/songs, composed music as well as intricate visual elements that include set design and costumes.
Cuencas piece “The Present doesn't exist in my Mind and Future is already way behind” was produced for Performa 09 in New York City and has been touring/re-performed to various venues and institutions abroad in 2010. Cuenca has had solo exhibitions at the National Gallery of Denmark in Copenhagen in 2006, at the Gävle Konstcentrum in Gavle, Sweden, and Heidelberg Kunstverein Germany in 2010. She has participated in numerous exhibitions worldwide including the Thessaloniki Biennial of Contemporary Art and The Tate Modern in London in 2009. In 2007 she was part of the exhibition "Global Feminisms" at the Brooklyn Museum in New York. She was included in the Busan Biennial, 2006, in South Korea and the 2006 Rauma Balticum Biennial in Finland. She was given The Eckersberg Medal of Honor in 2008 and was chosen as Artist of the Year in 2006. In addition, she received various prizes of honor as Arken, Travel Grant in company with artists as Olafur Eliason and Jesper Just. Her upcoming exhibition will take place in Location1, New York City from 29 October to 17 December 2011.
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Lilibeth Cuenca Rasmussen. Afghan Hound, 2011.