Campo. S Maria Mater Domini

I wrestled with how to carry on life/work after the 18 months ‘transpective’ time and took on several projects with the sensibility I had come to recognise during this time and with the name Chana Dubinski. I felt like I myself was a collaboration and this felt expansive. I was invited to show A Transpective in Venice during the Biennale. The opening became a liminal space, a game of me being ‘an artist’ and Gioia Meller Marcovicz ‘a gallerist.’ Several encounters that I had, particularly during the P/V, embodied this experience of who was playing what part. For instance, several people said to me that they heard I made performances and asked what kind of performance work I made. I responded that they were participating in one at this very moment, creating that aware, borderless and uncatchable space of a heterotopia. I responded that they were participating in one at this very moment, creating that aware, borderless and uncatchable space of a heterotopia, the ABCDness of it all.