Interview
Alexandra Holownia
Born in Wrzesnia, Poland, Alexandra is now based in Germany. She is a graduate of the Art University of Berlin. Working as a performance artist and interdisciplinary conceptual artist, she has explored public space performance, costumes, sculptures, drawings, video, creative writing and lectures.
Alexandra’s feminist work calls for socio-political tolerance, acceptance of human rights and freedom of sexual self-determination.
What is your name and background and how did you start your journey in the art world?
“Alexandra Holownia, aka Fly - I am an international performance artist. I was born in Poland in the town of Wrzesnia near Poznań. I studied design at the Academy of Fine Arts in Poznań and postgraduate costume and stage design at the Academy of Fine Arts in Warsaw, as well as postgraduate Art in Context at the University of Arts in Berlin. My journey in the world of art began early. As a 4-year-old girl, I participated in visual art classes where I was taught to paint and draw.
From an early age, I was fascinated by the magic of theater. I loved colors, games of light and above all, imaginary, mystical, created realities, unreal landscapes. I was intrigued by fictional characters. I liked to dress up and make up outfits. Hence my later decision to study costume and stage design. In traditional theater, however, I was annoyed by the hierarchy and marginalization of the visual arts. That is why I decided to create my own short performances, in which I used the costumes I had made, which were also sculptures. After my performance at the Cabaret Voltaire in Zurich, Manifesta 11 in 2016, there were performance festival offers in many countries.”
“Thematically, my works are about gender and sexuality. In my performances I touch upon problems related to the demystification of female genitalia, forced marriage, virginity control, sexual harassment, and the right to sexual self-determination. I am opposed to the determination of women seeking to break free from traditional sexual roles and existing notions of beauty. I challenge generally accepted social norms regarding women's rights in the world. It questions gender-based discrimination imposed by the state. In fact, I noticed that from an early age my surreal drawings, later sculptures, and now performances were about the female body.”
What would you say inspires you most?
“My first performance was based on an excerpt from the book Ulysses (The Night City) by Jamec Joyce. For this performance I created soft, surreal costume sculptures with canvas. They showed some parts of the human body, such as: hands, lips, breasts, buttocks. I put them on by impersonating heroes of the Night City, which were: thieves with very long arms, vagabonds with strong legs, prostitutes with big breasts. I later used the idea of costume sculpture in other performances, such as Alexandra Fly Walking or Alexandra Fly Dance. Besides, I was often inspired to create drawings and sketches by imperfection, especially women with disproportionate figures.
Currently, I am interested in people who differ from mainstream ideals. So the opposite of what is promoted by modern women's fashion magazines. I also like modern dance and the art of sound. In addition, podcasts of the British feminist organization FiLia are a source of inspiration for me. In 2018/2019 I took part in the presentations of FiLiart feminine art at the Tammam atelier in London. This experience was very important to me because I have met many women who think like me.”
Which artists influence your work most?
“I am fascinated by artists such as Louise Bourgeois, Yayoi Kusama, and Annette Messager. I also admire the soft sculptures of the British artist Sarah Lukas. The works of these artists are very sensual and feminist. They also thematize genitals. I like artists who think similarly to me. In Bangladesh I found a very relatable and brave artist by the name of Dip Mahbub Yasmin who transcends the boundaries of gender in art.
In Poland, I know vagina-themed artists like Iwona Demko or Zuzanna Czajkowska, who is now living in Berlin. Of course, the above-mentioned artists do not have any influence on my work, but I can find myself in their work. However, my work was undoubtedly influenced by the French choreographer Jerome Bel, who, in his Berlin performance Gala, questioned the human aspirations for perfection. Moving away from perfection is also my goal. In my performances, emotions are important, not perfect technique.”
“My work is about the overthrow of patriarchal structures. I stand for freedom, tolerance and breaking the taboo imposed on the vagina, but above all for women's rights and the right to sexual self-determination and transgenderism.”
What is your creative process like?
“My creative process is very arduous. Since 2007, I have been producing elements of soft fabric that I sew to the dresses, pants, bags, shoes and caps. When planning a performance, I have to create and choose appropriate costume sculptures. Later, I look for a way to play out these costumes. In my performances, I often dance with my soft dolls which are my alter ego.
Basically, I mean to arouse controversy and provoke the audience. I choose the music to match. Currently, I have expanded the performance with video projections. So I also have to choose the right photos that will emphasize or neutralize the visual expression of the artistic character I present. The idea of the projection accompanying the performance was the basis of the Transmission voice # 3 festival. Thus, the performance ‘The Bride’ presented at the festival enriched the video.”
What process, materials and techniques do you use to create your artwork?
“I work ecologically. I use old second hand materials. On the street, I usually pick up pink clothes that someone has thrown away. In 2020, I brought from Ghana, where I was on a creative scholarship, beautiful colorful fabrics, from which I currently sew elements of abstract vaginas. Once upon a time in Kassel, I was sponsored by a person who shut down his dress factory and gave me about 500 wedding dresses. To this day, I have about 100 wedding dresses and I use some of them in my performances.”
What’s your favorite artwork and why?
“I like art in public space the most, as well as guerilla art. My love for guerilla art made me create a live sculpture ‘Alexandra Fly’, which I presented in Europe during art fairs and mega exhibitions. This project consisted of my unannounced appearance in the public space and a discussion with an interested audience. In this controversial outfit in the years 2007-2020 I appeared at the Fiac Art Fair in Paris, in London at the Frieze Art Fair in London and at Art Basel.
The Alexander Fly Walking project was a provocation and an attempt to study the social tolerance associated with vaginal demystification. I love experimental temporary projects in public space, artist parades, and ephemeral sculptures. I like the sculptures in the public space accompanying the Art Basel Miami art fair every year. One such sensational project exhibited at Miami Design 2019 was the sculptures of London-based Mexican designer Fernando Laposse. His plush pink chimpanzees and the pink hammocks hung between the palm trees in the Miami Design District were a real eye-catcher. Or the Udo Rondinone sculpture located in Collins Park in Miami Beach, in front of the entrance to the Bass Museum, these large, piled up colorful stones resemble a child's toy and deviate from the traditional concept of sculpture. For me, art is a game and the artist and the viewer should discover the child in himself. On this point, I agree with the German painter Jonathan Meese.”
“I don't like political art. In my opinion, with the help of art, we can highlight certain social, political and environmental problems. However, art is not a tool to solve these problems. Art must be free. There is no place for censorship in art. Art is fantasy, play, and the artist provides the audience with these emotional stimuli. In my opinion, an artist should be able to educate and entertain the audience.”
