14 Jan 1959 -
Drawing on her experience of growing up in the Greek diaspora, Eugenia Raskopoulos' work 're-ma(r)king' reflects on how cultural knowledge is transferred across contexts and between generations through objects, rituals and stories. 're-ma(r)king' is focused on two items that belonged to the artist's grandmother, which she animates through performance. On one screen, we see Raskopoulos unraveling a woven doily then winding this into a ball of thread, restoring the crafted object to its material origins. In the other, we see her dripping olive oil from her mouth, then spreading this across the floor with a rolling pin as though preparing pastry. These actions invoke the power of mnemonic triggers, such as taste and touch. A portrait of the artist can be glimpsed in the reflective surface of the oil, partial and provisional, like memory itself.
dual channel digital video, colour, sound
duration: 00:05:15 min, aspect ratio 16:9, display dimensions variable
Gift of the artist 2019. Donated through the Australian Government's Cultural Gifts Program
Not on display
© Eugenia Raskopoulos
Referenced in 4 publications
Anne Marsh, What is performance art: Australian perspectives, 'Performance art - live and on screen', pg. 53-70, Australia, 2018, 62 (colour illus., video still). fig.no. 62
Anne Marsh, Australian and New Zealand Journal of Art, 'Photo/video language and the feminine in selected works by Eugenia Raskopolous', pg. 182-193, 2015, 192 (colour illus., video still). fig.no. 4
Anne Marsh, Performance ritual document, 'Performance, ritual, shamanism', pg. 127-164, Melbourne, 2014, 150 (colour illus., video still).
José Da Silva., Octopus 10: How we know that the dead return, 'How do we know that the dead return', Fitzroy, 2010, n.pag. (colour illus., video still).