Elena Apostolovski


Curating
Meanwhile, in the Glossy Interface 
Click, post, play
What the Swans Are Twittering About in the Riverbed
On Point of Climax
A less obedient version of Alexa — Carmen de la Roca
all GAME no PLAY
In transmission
On Point of Oversight
Sound Occupations
At Once
68’

Teaching
Attentive Alleys

Writing

Coaching and advising

contact me if you’d like to work together on a concept, artist statement or development of your practice 





Elena Apostolovski
Info
  1. Independent curator, writer and researcher.
  2. She seeks to question the relationship between social reality, artwork and the audience while affirming experiencing art as the physical experience of the body in space shared with other people.
  3. Her practice is focused on the exploration of interpersonal relationships in physical and digital realities shaped by dominant ideologies, aiming to find strategies that contribute to strengthening the connection within the community and disrupting conventions.

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On Point of Climax

Kexin Hao, Julia Sterre Schmitz, Stephanie Pan


WHERE: iii WORKSPACE, THE HAGUE, THE NETHERLANDS.
WHEN: MARCH 8, 2024.
THANKS TO THE INSTRUMENT INVENTORS INITIATIVE.
EXHIBITION DOCUMENTATION BY HELENA ROIG PRATS
Kexin Hao, Forceful Catering 

The ideologies we live in creep into the core of our beings and direct how we activate our bodies, where we address attention and how we perceive ourselves and the world around us. Human senses are biased: they are reflections of our conscious and unconscious understandings of our existence in the environment. 

Julia Sterre Schmitz’s documentary film Come Here, Come Here invites (self)discovery of a 12cm organ left out of anatomy books and science discourse, as well as the general knowledge, until 1998. Stephanie Pan develops a feminist manifesto containing vocal gestures, discovering How To Not Know she suggests ways of being and creating while trusting the body, leaning on intuition and celebrating emotionality, vulnerability, and empathy. Kexin Hao with Forceful Catering transforms the rice-pounding utensils into experimental percussion instruments that produce bass beats to electronic music; while blending the public and domestic space she reclaims the act of penetration. 

A Women’s Day program that honours and encourages intuition, action, and (self)discovery.

Which sensations do we allow ourselves to have and how to express them, which knowledge do we lean on? It is a challenge to navigate what inputs to trust among scientific books, classical paintings, pop songs or Instagram ads. On Point of Climax searches for tactics and tools art can offer to explore female bodies and extend the ways of how the body can be activated.


Stephanie Pan, How To Not Know


Julia Sterre, Come Here