Flora Reznik

Publicatie, redacteur, medewerker en artistiek directeur. Door gebruik te maken van tools uit de podiumkunsten, verkenden we het belichaamde collectieve denken rond het begrip 'het openbare gebouw'. We werden personages in een experimenteel toneelstuk en verkenden nieuwe manieren om ons te verhouden en betrokken te raken. In de beschutting van fictie waren we vrij van sociale gewoontes en kregen we de kracht om onszelf niet alleen te zien als passieve bewoners, maar ook als actieve architecten, speculanten, bouwers, funderingsinspecteurs, conciërges en onderhoudsmedewerkers. Script voor een synthetisch toneelstuk: Het openbare gebouw bevat teksten van Hamja Ahsan, Lila Athanasiadou, Nina Glockner, Ribal al-Khatib, Anna Moreno, Flora Reznik, Nishant Shah en Eef Veldkamp. Deze bijdragen werden vóór het symposium gedeeld en vormden een virtuele prelude op de gesprekken die zich ontvouwden en nodigden lezers uit om samen een gemeenschappelijke ruimte te creëren, nog voordat ze die betreden. Het bevat ook een fictieve afsluitende discussie gepresenteerd als script, die een nieuwe kijk biedt op het genre van de klassieke Griekse komedie. De film put uit het vermogen ervan om ruimte te creëren voor democratie en biedt een kritische reflectie op onze politieke systemen.

nstallation: 2-channel video,, 31’42’’, graphic plexiglass print, rubber tires, stenographic machine, archival photography, rubber objects, video 2 min (loop). Commissioned by TOK curators for Colonial Endurance, Detecting the Algorithm of Violence in Infrastructures exhibition, at Het Nieuwe Instituut Rotterdam, Museum for architecture, design and digital culture. Part of the ongoing artistic research project "New Worlders". 2023 A dialogue between a young researcher and her dead explorer aunt, with the two protagonists 100 years apart and so speaking to each other from disparate times.

hrough the use of speculative fiction and a revisitation of the classic adventure-explorer narrative, New Worlders replaces the notion of the hero’s conquest of nature with a wide range of voices – both human and non-human, voices that resist being tamed. As the researcher moves deeper into the jungle, she encounters an interspecies alliance between an underground political movement, inheritor of the rubber tappers union from the 1980s, and an endemic fungus that affects rubber trees. This is an epistemological proposition to consider the intelligence of the forest. It also hints towards a solution to the problems posed by the ongoing devastation of the Amazon ecosystem. Graphic work, concept by Flora Reznik, design by The Oddkin.

5 channel video installation "New Worlders" and 30 mins short film. Points at the nickname colonisers gave to Americans, but also to the capacity to build new worlds. The young researcher, a Jewish Argentinian woman living in the near future, wonders about what took her aunt to the unknown. Through a fictional journey that takes responsibility for the obsession of "the West" about penetrating the so called virgin Amazon, she delves into the sexualised and violent narratives that haunt our imagination about that place: like worms in the skulls of the dead, like dreams in the minds of the living. This film is an attempt to create a different way of telling this story, by presenting a research based speculative near-future sci-fi story about the history and future of rubber, a hidden backbone of the global economy, much at the edge of collapse due to, in part, an unruly fungus. It concerns biopiracy in times of genetic engineering, the scope of synthetic fantasies, global production chains of supply, ecology, scientific innovation and resistance. Producer, Writer and Director: Flora Reznik 3d Artist: Martin Menso Camera: Ariela Bergman and Jesse Immanuel Bom Sound recording and sound post producer: Jorrit Django Editor and image post producer: Flora Reznik Voice: Anne La Berge Performers: Yun Ingrid Eel, Tommy Ventevogel, Elen Braga, Mano Daniel Szollosi and Vera Goetzee Music: Tomer Baruch / Trumpet: Tal Avraham With the support of: Mondriaan Fonds

Publication, Editor, Contributor and Artistic director. Published in Eindhoven, The Netherlands by Onomatopee Projects. A staged conversation between a historian, an anthropologist, three artists, an earth eater and an architecture theorist: they enter unknown grounds, it is dark, and a disembodied alien voice encourages them to move across uneven terrain. A temporary community of strangers is formed. A sense of agency and belonging emerges, but also of marginality and dispossession. Hybrid voices start to circulate and be heard, borders of disciplines are blurred and grounds for certainty are collectively explored anew. Each step leaves sources for a unique script. Script for a Synthetic Play delves into new world-making technologies, the need for refuge and infrastructures of care, human and land exhaustion and cultural and ecological challenges of today. Expertise meets experience in informal and approachable discussions that, stylized for dramatic effect, create a conversation piece in the form of a play activated by the generative power of fiction. This book stems from the performative symposium “Unknown Grounds'' (Leeuwarden, 2019, supported by art initiative VHDG and Tresoar Frysk Histoarysk en Letterkundich Sintrum), and features a fictionalized version of transcripts of conversations that took place during the event by Nathaniel Feldmann, and a collection of texts written by Sissel Marie Tonn, Bert Looper, Andrej Radman, Theun Karelse, masharu, Bert Boekschoten and Flora Reznik.

Publication, accompanying Change in Y, Change in X

Unknown Grounds rethinks the traditional form of the academic symposium. We invited 25 participants to join a selected group of international researchers, artists and thinkers to explore the notion of ‘ground’. Through workshops, performances and guided conversations we immersed ourselves in new forms of collective thinking.

My brother’s leg grows at a rhythm of its own, slower than the rest of his body. Through a gesture of inversion, his scar (a result of multiple surgeries to stretch his limb), becomes a mountain chain. An attempt to inhabit fictive territories and different temporalities.

During 6 weeks, the artist traveled around Friesland in an old SRV bus. She developed a performance piece and later she produced an installation working with the documentation of that experience as material.

What to do with the private property left behind by a man who fought against private property his entire life?

A hole is a matter of definition. Of resolution, of determination to find it or make it. It is a matter of how to define matter and what it is that matters. A hole is an opening. — Video + photography + audio installation based on a long durational performance. Digging a hole for 8 months. // http://florenciareznik.com/the-hole/

The comforting beauty of geometry, contrast, the precise cut made by mankind. Shame on us. The skin, the fat, the soft and the depths know nothing about that. Experimental short film. Eye on Art – KABK Research lab. Presented in Eye Museum, Amsterdam.

Book. Warm covers. Written and hand made. Notes, conversations, dreams, emails, google translations, poems I read and loved or hated, memories, things that happened to me in the winter of Kraków.

Electron microscope video of magnetic nanospheres. In collaboration with Jelmer Wagenaar – Leiden Institute of Physics.

Performance/Installation. 12 minutes. As I slowly spin and pull the surface below around me, the audience standing on it is dragged along. Finally, a nest/hole is left behind.