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The Instrumental Man

October 9, 2012, 9:36 pm
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The Instrumental Man, 2012 Performance with Lydenskab The ensemble: Guitar: Thea Vesti / Drums: Eskild Winding / Flute: Karolina Leedo / Vibrafon and Percussions: Mikkel Ib / Cello: Sofia Olson / Trumpet: Jeppe Uggerhøj Composer: Katrine Møllebæk Ensemble: Lydenskab (instruments: classical guitar, cello, key board, flute, vibrafon and percussions, trumpet) Lyrics and performance: Lilibeth Cuenca Rasmussen Venue: Acts 2012 at Musicon, Performance Festival organized by Museet for Samtidskunst Roskilde Duration: 20 minutes Photos by Andreas Rosforth 2012 Other venues performed in the spring of 2012: Horsens Art museum, Kvindemuseet (Womens Museum), Århus, Athelas, Copenhagen; Festival for new compositional music Denmark In “The Instrumental Man” I incarnate the drama of the modern man. It deals with a hot topic arising in certain Western societies such as the Danish, where men are starting to feel suppressed as a result of women’s liberation and fight for equal rights. As a feminist it is I, as a female artist, who have the experience of voicing gender problems in writing and visuals , , , ,, , , , ,
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Mellemrum

October 9, 2012, 9:55 pm
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Venue: Mellemrum, X-act- Kitt Johnson 2012 Location: Art & Colour bar Oehlenslagergade, Copenhagen Duration: 20 minutes Photos by Per Morten Abrahamsen Accordion: Katrine Møllebæk Mobile Mirrors: Katrine Leth and Johanna Malene Geiger Host and waiter: Christian Rossil In an eclectic art bar a variety show richfull in expression: addresses art and egotistical issues; respectively in The Artist’s Song (2007) and The Ego Song (2006). Accompanied by an accordionist playing “French Musette” and two living mirror sculptures.
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Afghan Hound Performance

April 29, 2015, 12:16 am
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Afghan Hound, Venice 2011 “Speech Matters” The Danish Pavilion, Venice Bienale 2011 Composer: Anders Christophersen Costume Designer: Lise Klitten Photograpgher: Dorothée Thébert, 2011 BAC, Geneve (Live performance) Photo- and videographer by Thilo Frank Catalogue text by curator Katerina Gregos Lilibeth Cuenca Rasmussen works primarily with performance to explore a variety of issues such as gender, identity, socio-cultural relations in different contexts, as well as questions of home and belonging. Her work explores how the self is constructed, pinpointing the differences that are inherent in male/female role-play. Rasmussen’s productions often involve scripted texts and songs, composed music, choreography as well as precisely articulated visual elements such as specially designed costumes. Afghan Hound is a performance that includes four impersonations of voices from Afghanistan. It addresses the complexities of gender in cultures where men and women live segregated, and masculinity rules. When sexuality is repressed, new constructions of gender develop. These genders, which are impelled by the traditions of a given society and culture, appear and transform in Afghan Hound. The four stories that unfold in the performance are recounted through a combination of music and song, and the choreography for the piece is contingent upon a costume made out of hair, which is inspired by Afghan Hound dog racing. The transformation of genders and characters happens through the use of this costume, which symbolises different sexualities and kinds of identities. Some of these are hidden or repressed, others function as signs of power or coercion. The lyrics of the first song, for example, uses quotes by the Afghan activist, writer and politician in exile, Malalai Joya; the second tells the tale of a Bacha Bazi (a young boy trained to act as girl, who dance at men’s parties but is also a sex slave); the third character revolves around powerful male speech and masculine authority, and the last character, is a former Bacha Posh, a girl raised as a boy, when there are no sons in the family. Afghan Hound brings to the fore repressed voices but also attempts to communicate stories from within Afghan tradition and culture, by challenging the stereotypical Western discourse on the Arabic World and its often reductive positioning of it.
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Afghan Hound

April 29, 2015, 12:16 am
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Afghan Hound Photo- and videographer by Anders Sune Berg
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I Want You under my Skin

April 29, 2015, 12:16 am
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I want you under my skin, 2010 Photographs: 30 x 40 cm Photographs transferred to carpets and mounted on wall Measure of each: 120 x 160 cm Photos: Teis Bruno Make up: Lena Hansen Eight persons asked to dress up in the garb of another nationality or ethnicity than their own. In the process, the artist aims to represent authentically ”the other” while investigating the gap between what people are and what they want to be. #1 Lynne Weiss Drescher #2 Bocar Semega Janneh #3 Else-Marie Bukdahl #4 Lilibeth Cuenca Rasmussen #5 Kasper Ravnhøj #6 Mette Salomonsen #7 Toke Lykkeberg #8 Liva Cuenca von der Recke Beckmann
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ANGER IST POWER

April 29, 2015, 12:16 am
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ANGER IST POWER, 2013 Museum of Contemporary Art Roskilde, at Gimle. ANGER IST POWER is part of the project The Museum in the city by Museum of Contemporary Art Roskilde. A live show with Lilibeth Cuenca Rasmussen in collaboration with the venue Gimle – a show conceived as a retrospective exhibition of selected performances. The ensemble Lydenskab and a number of dancers performs alongside Cuenca Rasmussen in a live show, which is the first of its kind to highlight a Danish performance artist. Dancers: Naya Moll, Linda Reinered, Frej Mortensen og Lukas Racky Fullscreen
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Being Human Being

April 29, 2015, 9:44 pm
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{image 10 } Being Human Being Nikolaj Kunsthal, Copenhagen, 2014 http://www.nikolajkunsthal.dk/en/udstillinger/lilibeth-cuenca-rasmussen Solo Exhibition: 7 days of participatory performances in the opening hours of the Nikolaj Kunsthal. Body prints from earth of different kinds made by Lilibeth Cuenca Rasmussen in collaboration with visitors and special invited guests. Paintings, banners, objects, and sculptural interpretations are out comes of the performance series and exhibited in Being Human Being. 1. Day: Lucy Lilibeth Cuenca Rasmussen and visitors during the Culture Night in Copenhagen. Dimension: H:40 X W:250 X L:200 cm. Material: Blue clay 2 ton. 2. Day: Feet and Siblings with Michael Cuenca Rasmussen and Merci Kirsten Cuenca Christensen Dimension: 3 banners. W: 145 X L: 2700 cm and W: 145 X L: 2500 cm Material: Blue clay, earth from Turmi, Ethiopia, butter, fabric. 3. Day: Hand jobs with Jeannette Ehlers. Colleague and visual artist. 6 paintings on canvas. Measure: H: 205 X B: 245 cm. Material: grease, clay, earth from Hadar, Lalibela, Arba Minche, Turmi, Ethiopia. 4. Day: Family Mascarade with Teresita Cuenca Rasmussen (mother), Boa Niels Rasmussen (father) and Liva Cuenca von der Recke Beckmann (daugther). Dimension: each cloth piece: 30X30 cm: 4 X 64 = 256 face prints on cotton. Material: butter and earth from Turmi, Ethiopia. 5. Day: Hands and feet with Kasper Ravnhøj. Colleague. Mute Comp Physical Theatre: Choreographer and dancer http://www.mute-comp.com/ Pirouettes and handprints. Material: Blue clay. 6. Day: Portrait by Kirsten Justesen. Colleague and visual artist. Material: Blue Clay. 7. Day: Earth kisses from Lalibela: Lilibeth Cuenca Rasmussen and visitors. Material: butter, earth from Lalibela, cotton clothe. Measure: 29 X 20 cm. Migration – immigration Visitors are asked to make an earth print with their right thumb. Material: Canvas, butter, earth from Lalibela, Ethiopia. Monochrome. Measure: 245 X 205 cm In the beginning – Bemejemeria Performance on the opening night. Lilibeth Cuenca Rasmussen, Mihret Kebede, Jacob Kirkegaard. Sound by Jacob Kirkegaard. Material: Sound, smoke, candles, canvas, butter, earth from Hadar, Ethiopia. Measure of painting: 245 x 205 cm.
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Hommage a André Cadere

April 30, 2015, 12:26 am
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Hommage a André Cadere 2014 A long time fascination for the Polish-Romanian artist André Cadere inspired us to curate a reenactment of his Barres de rond performance. The project culminated in three live performances in Copenhagen and was documented in a limited print publication. Photo: Sasha Maric Collaboration with Designbolaget and Mads Nørgård, 2014 http://designbolaget.dk/personal-projects/ http://www.madsnorgaard.dk/projects/ Installed in a Billboard Project, Casablanca Marocco Concept and curator: Hanne Lise Thomsen http://www.billboardcasablanca.org/press/ http://telquel.ma/2015/04/02/casablanca-les-oeuvres-dart-remplacent-les-affiches-publicitaires_1440760 Performance Curator: Claus Due / Mads Nørgaard Performance: Lilibeth Cuenca Rasmussen Rod: FOS (Thomas Poulsen) Essays: Ingar Dragset (Elmgreen & Dragset) Sanne Kofod (Rektor of the Danish Art Academy)
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Prospherous Pal

April 30, 2015, 8:01 am
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Prospherous Pal Sculpture. Dimension: 300 X 150 cm Weight: 1 ton Material: cement, stainless iron fittings
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Visio Spatial Loop

April 29, 2015, 12:16 am
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Visio Spatial Loop, performed at Den Frie, Copenhagen 2011
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Gaia

May 19, 2015, 1:01 am
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Gaia #1 DenmarkPhoto of Gaia Denmark Gaia #2 Philippines Photo of Gaia Philippines Gaia #3 Deutchland Photo of Gaia Deutchland Gaia #5 Sweden Photo of Gaia Sweden
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Solo exhibition, Sweden

May 19, 2015, 2:04 am
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Solo exhibition, Sweden Musical skies, dropping down to earth, making trees fly Lilibeth Cuenca Rasmussen investigates issues such as identity, culture, religion, gender and social relations. She navigates in an interspace between the perfect staged music video, the raw reality of documentaries and a poetic quest for cosmic sense. In 2005 Cuenca Rasmussen began a series of performances acting and singing out various male/female stereotypes in front of the camera, to illustrate the inherent paradoxes in specific though fictional characters. Adapting the format of the classical music video – integrating composed music, rap-like rhyming lyrics and intricate costumes supplemented with a tongue of quirky sarcasm and biting irony - Cuenca Rasmussen brings both elements of personal confessions, social criticism and political commitment, as she performs her stories about anger, identification and longing. The exhibition will feature presentations of some of Cuenca Rasmussen’s most poignant video-performance works including Absolute Exotic (2005), Cock Fight (2006), The Artist’s Song (2007) and Afghan Hound (2011). Read more: http://www.rodasten.com/rs_events/view/Lilibeth_eng/?lang=english
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All my Friends

April 29, 2015, 12:15 am
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All my Friends, 1997 10 photographs: Lilibeth Cuenca Rasmussen Measure: 24 x 30 cm Exhibition. The Royal Danish Academy of Fine Arts, Copenhagen, 1997 I asked my friends how they would like to be represented as themselves, by me. Following directions given by each one of the persons involved, I dressed up in their articles of clothing and posed in their homes. Friends: Benny Robert Jørgensen, Birgitte Kirkhoff, , Jeppe Hein, Kenneth Balfelt, Knud Romer, Louise Sylvest Vestergaard, Majken Hansen, Tine Bundgaard, Jesper Mulbjerg, Marianne Korsgaard
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Delicate Bridges

January 31, 2016, 10:23 pm
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Mikado

February 2, 2016, 7:27 pm
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Mikado 2015
Duration: 60 minutes
Video: Osmar Zampieri
Photography: Largo das Artes, Rio de Janeiro
Produced for Verbo, Galeria Vermelho, São Paulo, 2015
Latter performed at Largo das Artes, Rio de Janeiro

Participatory performance: The intention is to activate the audience; make them collaborate, play, interact and perform with each other and the dancers.
Inspired by the game Mikado* a similar game is created by replacing the sticks with dancers. The audience is divided in two teams and invited to compete with each other. The game is about dancing and scoring dancers: one at a time and gather points for your team.

* Mikado is a pick-up sticks game. The sticks are bundled and taken in one hand that touches the table. The release creates a circular jumble. Now one stick after another should be taken up without touching others. On a fault the turn ends The next player bundles and drops the sticks again. After several rounds, normally five, the one with the highest score is the winner.
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Skin Stripping

February 2, 2016, 7:53 pm
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Skin Stripping
Performance for camera produced for Now and Again, Liveart.dk
Stripping through layers of clothes, patterns and colors metaphors for skin, identities and ethnicities…

2014. Venue: Photographic Centre in Nikolaj Kunsthal, Copenhagen
Duration: 5 minutes. Format: Ipad On The Go
Music: Tobias Lukassen
Costume: Louise Gronnemann
Video: Ene Bissenbakker
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Gaia #5 Sweden

September 7, 2016, 7:45 am
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Gaia # 5, Sweden, 2014
Site-specific performance with 40 volunteers’ performers from Göteborg.
Based on a 2 days workshop at Röda Sten Konsthal.
About the relation and communication between the individual body, the group and the environment: in cooperating the surrounding cliffs, water, trees, the bridge, at the end joining each other in a circle.
Attribute: Out to Grass: pink fleece blankets. Measure: 100 x 200 cm

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Gaia #3 Deutschland

September 7, 2016, 7:45 am
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Gaia #3, Hamburg, Deutschland 2013
"Unten-am-Havn" - Copenhagen meets Hamburg by Interpol
Invited artist Anik Lazar
Photos by INTERPOL

In the “Gaia” project, I have been examining the body's identification in relation to the ground on which it happens to be situated, on the basis of a physical-geographic, geological-material, metaphoric-symbolic dimension.
I take my starting point in my own body and history, which has often been seen before.

“Gaia” is a serial site-specific sequence of performances that take their point of origin in cultural identity and in the individual’s connection to a place and to the ground where it was born and where it “happens to be”. The series was ushered in at Sorø Kunstmuseum with the performance that was called “Gaia #1 Denmark”, which I created in collaboration with my father and my daughter. Subsequently, I performed “Gaia #2 Philippines” in the Philippines, at Ateneo de Manila; this time around, however, I performed the piece with my daughter and my mother, who replaced my father. Both of these sites form the background of my cultural identity: it was in Manila that I was born and it was in southern Sjælland, Denmark, that I grew up as a child. The first two performances were different from the next two presentations that were presented, respectively, in Hamburg (Gaia #3 Hamburg) and in Guangzhou (Gaia #4 China). In these two latter places, I had been invited to create new works on foreign territory.

It’s interesting for me to work in a serial way; doing so provides an overall framework that can move and develop in widely different directions. In hindsight, when I look at the sequence of video documentations, there is a vast difference between the first performances in Sorø and Manila and the next two in Hamburg and Guangzhou. The last two have become more political and were more focused on the materials’ metaphoric and symbolic aspects.



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Gaia #2 Philippines

September 7, 2016, 7:45 am
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Gaia #2, Manila, Philippines 2013
"You have every right", Ateneo De Manila Gallery
Photos by Martin Vidanes

In the “Gaia” project, I have been examining the body's identification in relation to the ground on which it happens to be situated, on the basis of a physical-geographic, geological-material, metaphoric-symbolic dimension.
I take my starting point in my own body and history, which has often been seen before.

“Gaia” is a serial site-specific sequence of performances that take their point of origin in cultural identity and in the individual’s connection to a place and to the ground where it was born and where it “happens to be”. The series was ushered in at Sorø Kunstmuseum with the performance that was called “Gaia #1 Denmark”, which I created in collaboration with my father and my daughter. Subsequently, I performed “Gaia #2 Philippines” in the Philippines, at Ateneo de Manila; this time around, however, I performed the piece with my daughter and my mother, who replaced my father. Both of these sites form the background of my cultural identity: it was in Manila that I was born and it was in southern Sjælland, Denmark, that I grew up as a child. The first two performances were different from the next two presentations that were presented, respectively, in Hamburg (Gaia #3 Hamburg) and in Guangzhou (Gaia #4 China). In these two latter places, I had been invited to create new works on foreign territory.

It’s interesting for me to work in a serial way; doing so provides an overall framework that can move and develop in widely different directions. In hindsight, when I look at the sequence of video documentations, there is a vast difference between the first performances in Sorø and Manila and the next two in Hamburg and Guangzhou. The last two have become more political and were more focused on the materials’ metaphoric and symbolic aspects.



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Gaia #1 Denmark

September 7, 2016, 7:45 am
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Gaia #1, Sorø, Denmark 2013
"Materiality no.2. (Earth)", Sorø Kunstmuseum
Photos by Andreas RobenhagenGround.

In the “Gaia” project, I have been examining the body's identification in relation to the ground on which it happens to be situated, on the basis of a physical-geographic, geological-material, metaphoric-symbolic dimension.
I take my starting point in my own body and history, which has often been seen before.

“Gaia” is a serial site-specific sequence of performances that take their point of origin in cultural identity and in the individual’s connection to a place and to the ground where it was born and where it “happens to be”. The series was ushered in at Sorø Kunstmuseum with the performance that was called “Gaia #1 Denmark”, which I created in collaboration with my father and my daughter. Subsequently, I performed “Gaia #2 Philippines” in the Philippines, at Ateneo de Manila; this time around, however, I performed the piece with my daughter and my mother, who replaced my father. Both of these sites form the background of my cultural identity: it was in Manila that I was born and it was in southern Sjælland, Denmark, that I grew up as a child. The first two performances were different from the next two presentations that were presented, respectively, in Hamburg (Gaia #3 Hamburg) and in Guangzhou (Gaia #4 China). In these two latter places, I had been invited to create new works on foreign territory.

It’s interesting for me to work in a serial way; doing so provides an overall framework that can move and develop in widely different directions. In hindsight, when I look at the sequence of video documentations, there is a vast difference between the first performances in Sorø and Manila and the next two in Hamburg and Guangzhou. The last two have become more political and were more focused on the materials’ metaphoric and symbolic aspects.



{video= width=640 height=360 poster=

Gaia # 5, Sweden, 2014
Site-specific performance with 40 volunteers’ performers from Göteborg.
Based on a 2 days workshop at Röda Sten Konsthal.
About the relation and communication between the individual body, the group and the environment: in cooperating the surrounding cliffs, water, trees, the bridge, at the end joining each other in a circle.
Attribute: Out to Grass: pink fleece blankets. Measure: 100 x 200 cm
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