My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
Christos Linou Choreographer / performer / filmmaker
Melbourne / Amsterdam / Melaka.
Naked Peel: durational dance installation
Dedicated to my mother Evanthia Linou. 1928 - 1997
Naked Peel pt1: Peeling back cultural tensions
D11@docklands Gallery. Melbourne: 30 September 2013. 9am - 9pm. (Twelve hours)
A twelve-hour performance work using 1,200 oranges, stimulated by the memory of my parents’ struggles as migrants from Cyprus in the 50’
The venue for was at D11 Docklands Gallery in the Melbourne water precinct, so I considered the space as an arrival gate to the city and a symbol of migration.
Under the skin of an orange is flesh, fluid and structure; under human skin is flesh, fluid and a structure, revealing that beneath the surface of one’s appearances, we are similar to the orange.
Photo's by Lucia Rossi © 2013
Naked Peel pt2: Revealing a tactile and erotic core
Club Church. Amsterdam: 29 November 2013. 10 pm - 4am. (six hours)
Photo’s by Mark Bennett © 2013
A six-hour work with 600 oranges.
I hung a crate over the bath to hold the orange pulp and its juice dripped onto my naked body and into the bath.
My body was modified by lumps of orange peelings and I wrapped my head with the orange peelings as a social disguise.
Within this explicit environment, I explored, erotic embodiment, the pleasure victim and sadomasochistic practices, without censorship that provoked stereotypes of body image.
Photo's by Mark Bennett © 2013
Naked Peel pt3: Shedding skin proper
Studio 45, Melbourne, 29 July 2014. 12pm - 8pm. (eight hours)
Eight hours and 800 oranges, framed the practical artwork for my MFA examination.
The design components were similar to those in the gallery and nightclub, however the space was set up as a theatrical experience with lighting, film and soundtrack.
This work was published on IMMATERIAL by the Marina Abramovic Institute.
Photo's by Lucia Rossi © 2014
Naked Peel pt4: The Metaphysical
MAP Performance and Art festival. Melaka. Malaysia. 26 November 2016. 8am - 8pm. (Twelve hours)
"Look at all these oranges they all look the same, but up close there different.
"Look at each other we are different but up close were the same."
Photo's by Steve Chong © 2016
