Good Job, Good Boy II
is a solo performance that delves into the themes of intimacy, imagination, family structures, and class difference. By gathering personal recollections of youth, queer desire, and rural life, the work explores an ongoing quest for validation, within the context of labor. Combining auto-fiction and repetition, the work dissects the mechanisms that shape our sense of self-worth, identity, and social belonging. The representation of three characters, (the grandfather, the mule, and the author himself) compose an examination of how personal experiences intersect with larger societal structures and shared narratives.
Sound by Ghaith Kween Qoutainy
is a solo performance that delves into the themes of intimacy, imagination, family structures, and class difference. By gathering personal recollections of youth, queer desire, and rural life, the work explores an ongoing quest for validation, within the context of labor. Combining auto-fiction and repetition, the work dissects the mechanisms that shape our sense of self-worth, identity, and social belonging. The representation of three characters, (the grandfather, the mule, and the author himself) compose an examination of how personal experiences intersect with larger societal structures and shared narratives.
Sound by Ghaith Kween Qoutainy
Good Job, Good Boy II
Centrale Fies, Italy. July 2021
Part of Live Works vol.11
Pics by Alessandro Sala. Video by Roberta Segata
Good Job, Good Boy II
ISO, Amsterdam, The Netherlands. November 2024
The (live art) series x Museumnacht
Pics by Fabian Landewee
Good Job, Good Boy (Sketch IV)
Good Job, good boy is an in-process thought around validation and labor as a tool within a capitalist, and patriarchal frame. The repetition of a physically demanding action in the imaginarium of labor is distorted with sound, text and rhythmic choreography.
Good Job, good boy is an in-process thought around validation and labor as a tool within a capitalist, and patriarchal frame. The repetition of a physically demanding action in the imaginarium of labor is distorted with sound, text and rhythmic choreography.
Good Job, Good Boy (Sketch IV)
Frascati Theater. Amsterdam January 2023
Pics by Renout Bos
Good Job, Good Boy (Sketch III) HetHem. October 2022
Pics by Helena Roig
Tekentuin
June 2024 - Drawing Centre Diepenheim
HUNDRED SECONDS LONGER AND ITS OVER. LOOKING FOR REAL? FOR REAL. Cállate, que menudo polvo echaron tus padres para tenerte. THERE IS NO LOVE, BUT I CALL THEM LOVERS. CARETAKER. HEART-SHAPED PIGGY BANK
“A hundred seconds longer and it's over[...] is the title of a performance where the evolving process of understanding and experiencing intimacy is dissected through a visual autofiction.
Through three acts, a changing manipulation of water—from contained reflection to a force defiant of control, and later, a puddle of introspection—speaks to the ever-changing nature of shame. Within a choreography of endurance, friction, and the communal, social, and intimate gestures are abstracted, becoming actors for the destabilisation of normative structures. I assume the stranger as a subject who can be trusted.
“A hundred seconds longer and it's over[...] is the title of a performance where the evolving process of understanding and experiencing intimacy is dissected through a visual autofiction.
Through three acts, a changing manipulation of water—from contained reflection to a force defiant of control, and later, a puddle of introspection—speaks to the ever-changing nature of shame. Within a choreography of endurance, friction, and the communal, social, and intimate gestures are abstracted, becoming actors for the destabilisation of normative structures. I assume the stranger as a subject who can be trusted.
Sandberg Graduation Show. HetHem October 2021, Amsterdam.Pics by Tom Janssen
Call me, Catharsis Exhibition DeSchool, Amsterdam June 2021
Pics by Kyle Tryhorn
Ornamenta Gala
Pforzheim , Germany. September 2022
Pics by Karolina Sobel and Marta Bogdanska
“Deepfaked Ocaña Wishing Me Goodnight” is a celebration of José Perez Ocaña (1947-1983), the Spanish artist, performer, anarchist and queer activist. We meet him as a ghost – a deepfake – during a poetic and diaristic journey, revisiting queer historiographies under the Spanish democratic transition. Ocaña’s apparition allows other guardian angels around us to be seen, reminding us of subversion, heritage, and pleasure.
“first and most important / dream our missing friends forward”
– Glitter in My Wounds by CA Conrad
https://rietvelduncut.rietveldacademie.nl/2021/deep- faked-ocana-wishing-me-goodnight
Graphics by Tomás Queiroz
Mastering by Maja Chiara Faber
A project of Lucía Vives and Eloy Cruz del Prado for Rietveld UnCut
From dawn to dusk is the title of a visual essay where Guillermo, a 83 years old man is followed during a random working day. It is a
tribute to non academic knowledge and a reflection on certain family values and intergenerational trauma.
