Studio Bursaries at VSSL Studio
2012
Kelvin Atmadibrata + Adriana Disman
︎︎︎ PSX: a decade of performance art in the UK
(original copy)
In collaboration with VSSL studio, our sister-space in Deptford (London), we invited Kelvin Atmadibrata and Adriana Disman to undertake 7 month studio bursaries. Kelvin and Adriana presented performance works during the PSX photography exhibition at VSSL.
Forcing Hyacinth, Kelvin Atmadibrata, 2019. Helsinki. Photo by Julius Töyrylä.
Thresholding, Adriana Disman, 2019. Photo: Mike Zenari.
Kelvin Atmadibrata, PSX: Photography exhibition, VSSL studio, 2021. Video by Baiba Sprance and Marco Beradi.
Kelvin Atmadibrata (b.1988, Jakarta, Indonesia) recruits superpowers awakened by puberty and adolescent fantasy. Equipped by shōnen characters, kōhai hierarchy and macho ero-kawaii, he often personifies power and strength into partially canon and fan fiction antiheroes to contest Southeast Asian masculine meta and erotica. He works primarily with performances, often accompanied by and translated into drawings, mixed media collages and objects compiled as installations. Approached as bricolages, Kelvin translates narratives and recreates personifications based on RPGs (Role-playing video games) theories and pop mythologies.
Adriana Disman, PSX: Photography exhibition, VSSL studio, 2021. Video by Baiba Sprance and Marco Beradi.
Adriana Disman is a performance art maker, thinker, and writer. Her practice searches for minor modes of resistance as she seeks liberation – an interdependent and as yet un-imagined state – through refusing to adhere to the logics of power. Often engaging with self-wounding, her work is minimal, poetic, and intense.
Disman’s writing on performance can be found in both academic and arts publications, and she is currently co-editing a book entitled "50 Key Performance Artists" for Routledge with T. Nikki Cesare Schotzko. Currently a PhD candidate at Queen Mary University of London under Dominic Johnson, Disman writes on the pathologisation of self-wounding performance art.