Welcome to Sayeh Nejatiankazemi’s Exploration of Performance and Boundaries
At the intersection of theater and performance art, I embark on a journey that transcends conventional artistic boundaries. My work delves into the nuances of what I term “minimal theater” or “theater of everyday,” challenging the traditional distinctions between artist and audience, the play and improvisation.
Performance Art as the Contemporary Agora of Political Action
For me, performance is a contemporary agora, a living space of negotiation, communication, and dialogue. Drawing on Aristotle’s ancient notion of the agora as a civic arena and inspired by Hannah Arendt’s idea that human beings reveal themselves to one another through action, I see performance as a site where the boundaries between artist and audience dissolve. In this shared encounter, presence becomes political, people meet, exchange, and act together. It is within this dynamic interaction that the possibility of social change emerges. In my perspective, performance is not merely a staged spectacle; it is a dynamic collaboration between artist and audience. It is an exploration of shared ideas and a breaking down of the barriers that traditionally separate the performer from the spectator. The line between creator and participant blurs, giving rise to a unique and transformative experience.
The Art of Everyday Life:
I am passionate about elevating the ordinary to the extraordinary. In the realm of minimal theater, the mundane becomes a canvas for profound expression. Everyday actions, thoughts, and emotions take center stage, challenging preconceived notions of what constitutes a theatrical performance.
Inspired by Rancière’s Notions of Emancipation:
Jacques Rancière, in his groundbreaking work “The Emancipated Spectator,” speaks to the transformative potential of the spectator in the act of performance. I draw inspiration from Rancière’s idea that the spectator is not a passive observer but an active participant, emancipated to interpret, engage, and co-create the artistic experience.
Setting Boundaries, Embracing Freedom:
While exploring the borders between theater and performance, I grapple with the concept of limits in performance art. Informed by Rancière’s philosophy, I acknowledge the necessity of some constraints to prevent the abuse of artistic power. Yet, I believe in leaving enough room for the unexpected, for the audience to become co-creators in the unfolding narrative.
A Fourth Wall, or a Bridge?:
Encounters with the unexpected, such as gallery installations in lieu of performances, prompt reflection on the role of the fourth wall. Is it a barrier that separates, or can it become a bridge connecting the artist, the artwork, and the audience in new and profound ways?
I invite you to explore with me, to question the boundaries that define performance and to celebrate the liberating potential of art. This platform is not just a showcase of my work but a space for dialogue, where ideas are shared, perspectives are challenged, and boundaries are redefined.
Thank you for being part of this journey.
Sayeh Nejatiankazemi (Sayeh Kazemi)
Emancipated 