Meet Lisette Ros
Meet Lisette Ros, a Dutch artist born in 1991 who is reshaping the landscape of performance art with her innovative and introspective approach. Specializing in conceptual and performance art, Ros uses her body as a medium to explore and challenge societal norms, identity, and the human experience. Her unique blend of humanimal, woman, queer, and fluid identities informs her creative expression, allowing her to create art that pushes boundaries and initiates thought-provoking conversations.
I Bruise Like A Peach (2022) in collaboration with artist Sam Janssen. Live performance, residue artifacts, interactive hand-coded light installation. Duration: 00:30:00 minutes. Link: https://www.lisetteros.com/i-bruise-like-a-peach-2022/
Ros's work is characterized by its direct engagement with the audience, inviting them to explore the layers of their own perceptions and beliefs. She skillfully transforms everyday experiences and routines into artistic expressions that reveal the underlying socio-cultural influences shaping our lives. Her performances are immersive experiences that draw viewers into a world where art and life intersect, encouraging introspection and a deeper understanding of the self and the surrounding world.
Her artistic contributions have led her to significant global platforms, from the Venice Architecture Biennale to collaborations like those with Asian Dope Boys at the MWoods Museum in Beijing. These collaborations and solo projects are a testament to her versatility and the universal appeal of her art. Ros has been selected for numerous residencies worldwide, including completing a residency at Marina Abramović in 2021, further solidifying her position in the contemporary art world after researching performance art and her work for 13 years. Ros's commitment to exploring her roots took her to Indonesia, where she immersed herself in her heritage, enriching her artistic vocabulary and deepening the narrative complexity of her work.
The Mirror (2019) . Live performance, video artwork, handmade sink installation, liquid mixture. Duration: 00:25:00 minutes.
Link: https://www.lisetteros.com/performance/the-mirror-2019/
Beyond her performances, Ros extends her influence through educational roles, engaging with students and peers on themes of identity fluidity, diversity, and the nuances of gender expression. Her workshops and lectures are platforms where traditional notions are dissected, and new understandings are forged, underscored by her belief in art’s capacity to inspire change and foster a culture of empathy and openness.
How have your experiences shaped your decision to use your body as the primary medium for exploration, and in what ways do your identities as humanimal, woman, queer, and fluid intersect with and inform your art?
L.R: My work as a performance artist officially started in 2013 during my Master's degree at ArtEZ Institute of Arts in the Netherlands as the next step in my process, in search of my involuntarily suppressed feelings and vulnerabilities. I’ve always had my own way of learning and dealing with things; it became clear to me that I needed heavy confrontations in order to be able to open up by scraping off layers. It became an interesting way for me to integrate and transform certain coping mechanisms that I had developed in constructive ways, rather than just destructive ones. Coming from a background that involved a lot of alcoholism, secrecies, emotional abuse, migration history, and changing of roles, these coping mechanisms consisted of, for example, my compulsion to control, focus on clock time, an eating disorder, and discipline. These coping mechanisms were mainly about controlling the body and physical behavior, driven by my mental will and strength.
Thus, my experiences have profoundly influenced my choice to use my body as the primary medium for exploration. I got introduced to endurance performance art by an external mentor in 2012, who psychologized me during our meetings, and who could identify with my personal story. This mentor, amongst a few others, gave me the feeling of “being seen,” and he dared me to challenge myself; my construction of identity, my brain, my wounds, my created mechanisms, my body; my past and my present on the basis of (durational) performance art. To learn how to shift the “negative” into strength and growth, by collaborating with the pain in order to learn how to feel (again), and by using my gained skills for my own benefit. Skills such as discipline, perseverance, compulsiveness, and strategic thinking.
Twelve years later, I find myself on the other side of the canal; feeling honored to share those mastered skills and knowledge in my life, arts, and through education with others. My (performance) art has become a vehicle for well-being, dealing with damage, conflicts, and different identity constructions.
Now, the different ‘I’s that I carry with me intersect and inform (my art) by providing diverse perspectives. They serve as lenses through which I examine societal norms, challenge conventions, and explore the multifaceted nature of identity.
Could you walk us through the journey from conceptualizing an idea based on societal norms and human behavior to its embodiment in your performances? What role does your research process play in this journey?
L.R: Sure! My general approach involves five key aspects: ongoing period of observatory research funneled down into analysis, which evolves into the phase of conceptualization; continued in experimentation with (bodily) actions in spaces that resonate with the concept, followed by reshaping the concept and designing the (performance) conditions; to end with the display of the performance documentation, such as artifacts, recordings, and props at locations.
Reframing Conventions (2013 / 2020 Relaunch). Live performance intervention (guerrilla), short video, original chair, original suit, photo series. Duration: 08:00:00 hours. Link: https://www.lisetteros.com/corona-productions/reframing-conventions-red-light-district-2020/
I’d like to take you along based on my first official performance work, Reframing Conventions (2013), for which I explored the convention of sitting in office spaces. Initially driven by an interest in architecture, intervening space, and the mundane, my research involved observing, analyzing, and intervening in various office environments. I discovered that prolonged sitting, a common office practice, was associated with a 40% increased chance of premature death. Over 1.5 years, I immersed myself in this research, experiencing firsthand the impact of sitting for eight hours straight. The performance aimed to raise awareness about the bodily effects of this convention, emphasizing the importance of understanding our physical conditioning.
In 2020, mostly being in lockdown, I had the epiphany of relaunching this piece. The pandemic gave the research into the act of sitting a new layer of meaning, reshaping our understanding of collective spaces and changing the way we physically approach them. This stems from the same aim, with a slightly different focus: to highlight how spaces and settings worldwide got alienated from their function, and how we physically adapt to this schism. In the year 2020, I did five guerrilla performances of Reframing Conventions within this new context at five different, specifically chosen locations in my hometown, Amsterdam, open to the public.
The new timing, shifted contexts, and different mentality resulted in more people now really starting to understand the piece, and that they were able to identify with the concept and feel it in their own bodies. This period of guerrilla performances evolved into a new concept, that became a new work on its own, titled Reframing Conventions for INTERBELLUM #1 (2020), in collaboration with curator and musician Gabriel Rolt.
The word ‘Interbellum’ commonly refers to the period Between the Wars. It defines a period in-between. When alienation finds its way throughout all layers of existence, and at the same time, the opportunity rises to redefine conventions. As the pandemic resulted in a political and economic crisis, INTERBELLUM is framing and continuously questioning the function of art and behavior in this specific period. A representation of a different approach to this period in-between.
For this live performance, I solely sit for eight hours on the same chair that has been used since 2013, without practicing any other human action.
‘De Stelling van Amsterdam’ as a location offered an interesting natural decor as it was officially built as a part of Amsterdam as its defense mechanism for war, but has never served its original purpose. The weirdly idyllic landscape serves as an interesting setting for the work, its natural inhabitants unbothered by my presence.
Hence: a work is never finished. My way of working is experimental and fluid. The process is the work, and the aspects of time and slowing-down are highly important. This is an important part of my vision and the way I conduct my research.
Your work intentionally provokes discomfort to challenge societal norms. Can you discuss the intention behind this and the types of conversations or reflections you hope to invoke in your audience?
L.R: That’s right, my work often starts with confrontations. Together with constant self-reflexivity, these are the starting points for my concepts. This usually comes from a mode of hyper-awareness that can evolve into obsessiveness. Therefore, originally my art stems from my (daily) research into my own feelings, discomfort, and vulnerabilities, which I - involuntarily - always had to mute and shut down. My performances are marked by reiterations of gestures and acts, increasing the feelings of discomfort in myself while unmasking societal mechanisms.
First, I tend to purposely use ‘discomfort’ in a way to pull myself out of certain zones of safety, places of trust and comfort; sometimes literally. Secondly, I try to narrow this down into a (performance) work which will evoke similar feelings, emotions, vulnerabilities, and processes I undergo with an audience or witnesses. That process of pinpointing and funneling-down can take up a long time, sometimes years, in order to make this as specific as possible. The essence of sharing a performance, whether live or in another format, is for people to realize it's not about me; it's about them. The confrontations they experience are reflections of themselves, facilitated through my work. My body is simultaneously a symbol, tool, arena, and flesh in a crusade toward society. I find it important to mention that I am not there simply for the entertainment of an audience; it’s not about showing an act or playing a character.
I’ll dance as fast as I can by LR On Demand (2020). ‘Art Nou' Edition. Still shot taken by Aina Diago during live performance at Piramídon Centre of Contemporary Art, 2023. Live performance, video diptych, residue installation, eight unique sound fields. Duration: 00:30:00 minutes. Link: https://www.lisetteros.com/ill-dance-as-fast-as-i-can-2020-at-piramidon-centre-dart-2023/
Given the interdisciplinary nature of your work and the intense emotional and physical engagement it demands, how do you navigate the challenges of embodying vulnerabilities and conceptual ideas across different media?
L.R: Navigating the interdisciplinary nature of my work, which demands intense emotional and physical engagement, involves a delicate balance. Embodying vulnerabilities and conceptual ideas across different media requires a thoughtful, specific integration of my personal experiences into the artistic process. I approach it by acknowledging the inherent challenges and embracing the synergy between my body and conceptual ideas.
Then I follow up by translating this into materialization and designing the rest of my foreseen visualization. I have a background in branding, therefore I know how this process of visual translation can either make or break something. It is important not to get hasty with this, and naturally, along the process of development, I already created many ideas. Typically, I possess a distinct vision for materials I wish to experiment with, and there's a comprehensive "body of work" taking shape in my mind.
Eventually, this balance allows for a seamless exploration of vulnerability across various forms of expression and the best possible medium to fit the message and the concept.
How do your daily experiences as a conceptual and performance artist feed into your creative process? Are there aspects of your personal life that directly influence the themes and execution of your performances?
L.R: As mentioned before, my performances always carry recognizable elements; I analyze routines, banal actions, and question conventions, daily rhythms, and self-evidence. I illustrate the consequences of the socio-cultural praxis that affect us, knowing that this cannot exist apart from me.
The mirror that I constantly try to hold up to myself, through a - sometimes forced - sharp form of awareness, ensures that I draw many themes from how I stand with my own identity, my ‘I’ at that moment, in the society of that moment. It is the dynamism between my identity, the identity of society, and both fluidities that plays a major role in this; a movement whose ramifications sometimes suddenly become very clear in the context of certain topics, themes, tendencies, and trends, from which I try to develop conceptual predictions based on the research that I initiate and conduct. This often results in a new work, or at least becomes the fundament for a new concept and a (new) obsession.
This process keeps me sharp, but also requires constant practice, de- and reconstruction; in my lifestyle, philosophies, activities, patterns, routines, behavior, choices, and interests. Complete dedication, an extreme form of discipline, tireless perseverance, endurance, and a constant flow of (self) criticism are important pillars in this respect.
My Self, the (Unfamiliar) Roots (work in progress). Still shot taken by Razan Wirjosandjojo at Studio Plesungan, 2023. Live performance part one ’(the Act of) Uprooting’, video artwork, handmade suit. Duration: 06:00:00 hours. Link: work in progress.
Looking forward, are there specific themes, methods, or questions you are eager to explore in your art? How do you envision your practice evolving to address new or ongoing societal conversations?
L.R: Ha, of course, there are! The first theme that pops up, which I’ve been thinking about for years, coming from my personal experiences, is Alzheimer's disease. I know that one day I will make work in relation to the disease. However, I am not ready for this yet, so it stays on the shelf waiting until the time is ripe.
For some time now, I've been contemplating the idea of expanding upon The Mirror (2019), delving deeper into the exploration of narcissistic behavior. Drawing from my personal experiences over the past few years, I've encountered numerous confrontations and gained insights that I believe many others can relate to once again. This project still feels like just the beginning of my research, given the ongoing relevance and prevalence of this topic. It serves as a constant reminder to remain vigilant of the signals and alarm bells, both for myself and potentially resonating with others. Unfortunately, I fear that this theme (and folk disease) will continue to be prevalent for some time to come.
I am also working on my research into the perceptible act of presence in absence by examining ‘The Absent Body’, which I launched in Mexico City in June 2023. Now, in continuation, I am doing several live performance experiments on location in Amsterdam, open to the public, titled: “Presence in Absence” Piece two and “Presence in Absence” Piece three as part of an exhibition.
My main priority during this - and the upcoming - period is the theme of (my) unfamiliar roots, specifically my Indonesian heritage. This project represents the sixth installment of the My Self series, which delves into self-identity and the identification process, and for which I will return this year to Java and Ambon to continue with the third part of my research for My Self, the (Unfamiliar) Roots.
The My Self series, which I started in 2015, marks my ongoing exploration of the self and the identification process, and has been central to my (performance) work ever since. This series currently consists of five parts. This series can be directly related to my personal life; the newest and sixth part is related to a part of me which is rooted in a distant Indonesian past. A part of myself I am unfamiliar with.
Last but not least, I am eager to secretly mention something about Reframing Conventions, as I will take this work to the next step into another interesting, and unexpected direction of development. Exciting! Stay notified by adding your contact on my website: lisetteros.com. And don’t hesitate to follow @lisetteros for some daily stuff ;-).
My Self, the Fetus (2015). Polaroid taken by Marieke Gras during live performance launch at De Keet, 2015. Live performance, residue skin, original polaroid series. Duration: 00:05:00 hours. Link: https://www.lisetteros.com/performance/my-self-the-fetus/
Transformation - “How do you perceive the role of 'transformation' in your work, especially in relation to your personal and artistic identity?"
Engaging in confrontations and invoking a constant chain of reflection(s) have become an important core from which I always try to work. A very therapeutic process. I believe that I am always in a state of becoming, whether in the smallest way, in game-changing experiences, or transformation; negative or positive... Opening yourself up to self-change, adjustment, or transition phases is a necessity for this, although not the easiest way.
In my practice, every time I give a live performance, with or without public, the performance is different. Every moment my energy, my (inner) body, emotions, feelings, vulnerabilities, and space are diverse and fluid.
Embodiment - "Can you elaborate on the importance of 'embodiment' in your performances and its impact on both you and your audience?"
Certainly. Embodiment is central to my performances, where I consciously use my own body as a tool and source with which I conduct my research. The embodiment of the performance and the work of art requires time, patience, attention, and acridity; important aspects to develop the complete work (of art). To do this, based on the research, insights, and concept, I design the rules and regulations that will form the foundation for that specific performance artwork.
I consciously use discomfort, especially in observing and analyzing myself, deconstructing my own behavior and conditioning, in order to share this with a certain audience at a certain moment; which encourages introspection and a deeper connection with themselves, through me, with our dialogue as part of my performance.
Curiosity - "How does 'curiosity' fuel your exploration of human behavior and societal norms within your artistic process?"
Curiosity is the driving force behind the mapping of my daily life and the (artistic) exploration of behavior and societal norms, conventions, banal actions. Maintaining genuine curiosity is about continually relearning and practicing how to open-up; to yourself and others, entering new paths and depths. Holding on to the childlike perspective, and practicing with the concept of unlearning on a daily basis is a very complex process that requires a lot of discipline, perseverance, (hyper) consciousness, and consistency.
I tend to (visually) translate insights of these processes in my arts and performances, questioning and reflecting (my own) identity as part of the society of that moment - what is happening now.
Resilience: "In confronting societal conventions and personal vulnerabilities, what does 'resilience' mean to you as an artist?"
In the face of confronting societal conventions and (personal) vulnerabilities, 'resilience' for me embodies the strength to persist, adapt, and evolve.
Resilience means staying true to my vision despite adversity, embracing the uncertainties that come with pushing boundaries. It involves learning from setbacks, transforming them into strength, and maintaining a steadfast commitment to the exploration of profound themes within the human experience.
My Self, the (First) Breath (2021). Analogue shot taken by Marieke Gras during live performance at Audelà, 2021. Live performance, handblown glass objects, analogue photos, housemade liquid mixture. Duration: 00:30:00 minutes. Link: https://www.lisetteros.com/my-self-the-first-breath-2021/
Lisette Ros's career is a compelling illustration of how art can be a powerful conduit for exploring complex themes of identity, culture, and human experience. Her innovative approach contributes meaningfully to contemporary discussions on art and society. As she continues to evolve and challenge the conventional boundaries of her medium, Ros remains a dynamic force in the art world, inviting us all to reconsider the familiar through her transformative lens.
