Redemption for the Redeemer
16 August 2019
Performed live by Zoë Bastin
As part of group exhibition Relics of Survival at Bus Projects this performance uses rituals from Bastin’s religious childhood and queers them through the body in movement.
Segment from accompanying essay:
“I often light candles for reflection. At points when I’m not sure what else to do. Alongside speech, we think through actions. There are moments of performance that enact spiritual realities: lighting a candle, dancing in the dark, picking flowers. I’ve been thinking about my own rituals of survival and the relics they leave as traces. Taking selfies, singing out loud, writing my thoughts down. Trying to prove an existence outside of my body. Trying to mark on the wall of the cave some futile note-taking of presence. A record of my being here.
The title of my work references an Anselm Kiefer painting that hangs in the Kunsthalle in Zürich. Kiefer depicts a huge wooden attic; large hulking planks of wood show swirling patterns of the grain. At the centre of the painting is a cauldron full of blood. Written above it in messy white paint is, “Höchsten Heiles Wunder! Erlösung dem Erlöser”. Loosely translated this means: The Holiest of Miracles! Redemption for the Redeemer! Raised in the Anglican church as a child I was an alter girl; it was my role to carry the light. Sundays were filled with ritual. Counting steps up the aisle. Trying to look serious (read: to be straight) in front of a congregation of judging stares. There are times when we can’t speak at all. Rendered mute by the ritual itself.”
Relics of Survival at Bus Projects
by Anador Walsh
Redemption for the Redeemer essay
By Zoë Bastin