We travelled to Berlin late last week to see the last in the trilogy of Eloise Fornieles' installation performances, Carrion, at Haunch of Venison Berlin. On the same night, just a few doors down on Heidestrasse, we dropped in at John Isaacs' private view of Tears Welling Up Inside at Wendt + Friedmann Galerie. The contrast between the rituals of Eloise's moody, contemplative installation and the talkative, crowded rooms of John's opening night was striking. Below are some snapshots. For more information on Fornieles' trilogy of performances, see the Other Criteria publication.
The room is strewn with a ton of clothes, across and around which the audience are invited to walk, carrying with them a note of apology or thanks to deliver to Eloise. On receiving the note from within her scaffolded house, she reads it, removes her clothes and walks to the carcass hanging from the rafters. She cuts an incision with a knife and tucks the note into the body of the animal. She steps back across the floor and tugs at the clothing about her feet, seeking out a new set of garments which she slowly dresses herself with again. She returns to the table and waits for another note or offering. Above and around her, militia dressed cameramen record her actions on video camera. She is on hunger strike. The performance lasts 72 hours.
To read the Art Slant review and interview between Eloise Fornieles and Ana Finel Honigman on hunger strikes and performance body art, click here.