Video loop, 14 min 11 sec, 1280 x 720 mov, 2013.
Collaboration with Myanmar performance artist Kolatt.
Premiered April 23, 2013, at ZHdK Zurich University of the Arts, Switzerland.

In Cordon (watch here) — first in a row of collaborations between Myanmar performance artist Kolatt and Hungarian visual researcher Bálint Rádóczy — we see the plain, clear, symbolic gestures of a performative task documented in a narrow, claustrophobic visual language and sound design, intensified to the verge of turning abstract. The objective of the duo was to be clear in delivering the message and yet creating a visual entity of its own right, going beyond mere documentation.

The nudity of the artist generates a voyeuristic mood, emphasised by the flashlight penetrating the night, combined with the restricting, separating, excluding connotations of the police tape that resonates to the gender-issues being the main theme of Kolatt’s body of work. The scene was shot at a bamboo plantation, a symbolic choice as well: at first glance it might recall idealistic notions of freedom traditionally related to nature, but in fact the young bamboo sprouts are standing in meticulous order in a controlled environment: their whole lifespan has been predesigned.

The work’s narrative reflects on the intricate relation between the individual and society, how one copes with living in a narrow, restricting system by creating an obedient, socially acceptable alias; how this persona takes over your private self; and how one tries to fight back repeatedly, in a recurring loop that eventually causes a third identity to come alive: a split personality that is perceived as troubled, instable and possibly dangerous to society.

"(...) In the video "Untitled (Cordon)", we are in a forest of young bamboo shoots at night, following at a distance a young, naked man unravelling a roll of red and white cordon tape. He winds a path through the woods to create a layer of barriers before enveloping himself in the tape. Watching the bizarre ritual of the performance unfold, the area he sets out seems arbitrary; but within the certainty of his gesture is the assertion that we delineate and define our own boundaries of significance." — Chris Fite-Wassilak, 2013