Video instructions and help with filling out and completing Which Form 5495 Trusts

Instructions and Help about Which Form 5495 Trusts

Now let's go back in time it's 1974 there is the gallery somewhere in the world and there is a young girl aged 23 standing in the middle of the space in a front of her is a table on the table there are 76 objects for pleasure and for the pain some of objects are glass of water a coat a shoe a rose but also the knife the razor blade the hammer and the pistol with one bullet there is instructions which says I'm an object you can use everything on the table on me I'm taking all responsibility even killing me and the time is six hours the beginning of this performance was easy people who give me glass of water to drink they give me rose but after very soon there was a man take the scissor and cut my clothes and then they will take the turns of the rose and stick in my stomach somebody take a razor blade and cut my neck and drink the blood and I still have the scarf the women will tell the man what to do and the man didn't rape me because it was just a normal opening and it was the art public and there with their wives they carry me around and put on the table and put a knife between my legs and somebody took the pistol and put the bullet and put against my tempo and another person take the pistol and they start fight and after six hours was finished I start walking towards the public I was a mess I was half-naked I was full of blood and tears was running in my face and everybody escaped they just run away they could not confront myself with myself as a normal human being and then what happened is I went to the hotel it was a 2:00 in the morning and I look myself in the mirror and I had a piece of gray hair all right please take your blindfolds welcome to the performance ward first of all let's explain what is the performance so many artists so many different explanations but my explanation of performance is very simple performance is mental and physical construction that performer make in a specific time in the space in the front of audience and then energy dialog happen the audience and the performer make the piece together and the difference between performance and theater is huge in the theater the knife is not a knife and the blood is just ketchup in the performance the blood is the material and the razor blade or knife is the tool this is all about being there in the real time and you can't rehearse performance because you can't do many of these times things twice ever which is very important the performance is you know all the human beings are always afraid force very simple things we are afraid of suffering we afraid of pain we are afraid the mortality so what I'm doing I'm staging this kind of fears in the front of audience I'm using your energy and with this energy I can go and push my body as far as I can and then I liberate myself from these fears and I'm you Mira if I can do this for myself you can do for you after Belgrade where I was born I went to Amsterdam and you know I've been doing performances since last 40 years and here I met who I and he was the person I actually fall in love and we made for 12 years performance together you know the knife and pistols and the bullets exchanged into love and trust so to do this kind of work you have to trust person completely because this arrow is pointing my heart so hard the beating and adrenaline is rushing a song is about trust is about total trust to another human being our relationship it was 12 years and we work on so many subjects about male and female energy and as every relation comes to an end Aras went - we didn't make phone calls like a normal human being do and say you know this is over we walk Great Wall of China to say goodbye I start from the yellow sea and he start from the Gobi Desert we walk each of us three months two and a half thousand kilometer it was the mountains it was difficult it was climbing it was ruins it was you know going through the 12 Chinese promises this was before China was open in 87 and we succeed to meet in the middle to say goodbye and then our relation stopped and now I completely change the way how I see the public and one of our important piece I made in those days it was Balkan Baroque and this was the time of the Balkan Wars and I wanted to create some very strong charismatic image something that can sir for any war any time because Balkan war now is finished but it's always some war somewhere so here I'm washing two and a half thousand bake big cow bloody bones you can't wash the blood you never can wash shame of the wars so I'm washing these six hours six days and warm succumbing of these bones and becoming possible in unbearable smell but then something stays in the memory I want to show you the one who really changed my life and this was the performance in Norman which just recently I made this performance when I say to the curator and we're just going to sit at the chair and they will be empty chair in the front and anybody from the public can come and sit as long as want the curator said to me that's ridiculous you know this is New York this trade will be empty nobody have time to