by Melis Agabigum
Thinking back to my time as an undergraduate student, I’m puzzled and embarrassed by the many jokes that my fellow cohorts and I had at the expense of performance artists ... conceptual content had been lost upon most of my classmates and me ... I was ignorant of what performance art could be and why it was (and is) so important, especially in any discipline that integrates the body. With jewelry, on the other hand, I could rattle off the many reasons why this area of fine art and craft was significant.
The presence of integration of body and space, and activation of an object through performance has brought on a deeper sense of appreciation for jewelry and performance art. For me, this fascination with the ephemeral and interactive is ever present in the works of Brussels-based artist Lodie Kardouss.
Image caption: Lodie Kardouss,
A Jewelry Piece, 2019, stretch fishnet, silver-plated steel, polystyrene, 13 m in circumference; performed by Maria Ferreira Silva, Eva Honings, Gala Moody, Marina Palovaara, and Jason Respilieux; directed by David Nollet, courtesy of Lodie Kardouss, photo: Yvan Guerdon