johannakotlaris

Felt cute thats all

Swipe to the second slide for the ultimate explanation to a healthier concept of love 🥲 trigger warning: substance use. The Pirate and Rosa were beautfully played by @chantal.dubs and Ivy Quainoo 🙏 First and third image: “Tabula rasa”, 2024 dried roses and epoxy resin 40 x 25 x 8 cm Installation view “Johanna Kotlaris. HUMERE”, Manor Art Prize 2024 Ticino, MASI Lugano, Switzerland. Photo @gabrielespalluto © MASI Lugano The show is sill on till January 6th!! ❤️😘

*we will be better* is releasing tomorrow at noon ☺️ on spotify and soundcloud 🎶 and on youtube and vimeo as video 🥹 shout out to my insane team and all the people who helped making Humere 🌙 still humbled and feeling blessed. Join us for the performance at @gessnerallee @backslash.festival and the partyyyy I will be on stage with @isa.bellemeraner and @raphaelleproust again ❤️ cant wait

I’m giving a talk on Tuesday 26 18:30-20:00 at Villa Bleuler @sikisea.ch the Swiss Institute for Art Research, alongside Ian Anüll, with @keine.gioia Barbara Zürcher and Deborah Keller - its free but u gotta RSVP until today sik@sik-isea.ch 🦋 kisses

Upon big and repeated request 🦋 I am releasing *we will be better* this Saturday Nov 23rd for u all to enjoy on the music streaming platforms 🌙 *we will be better* is one of 6 tracks made for my film HUMERE and its kind of about time it sees the light of the day 😘 I will perform this song for the last time this year at @gessnerallee for @backslash.festival in the context of my performance HUMERE🌙 so please join us and celebrate this little first release with me this Saturday

No big caption today, just this little big still from the film. The show is on until January 6th 😘

TRAVEL is the slogan on Humere’s shirt in the first part of my film and a little bit of a tongue in cheek reference to the “journey”, a word that is often used in spiritual and new age language to refer to one’s self-development trajectory. Humere’s journey is that of an anti-heroine but even if very flawed, it is also a development, a growth. I was invited by @masilugano to propose a film for their series “MASI al cinema” which offers the audience free screenings of selected films in relation to their current exhibitions. In honour of the “coming of age” genre I selected @mirandajuly s “Kajillionaire” which is a beautiful and moving portrait of a young woman who is learning what it means to love and to be loved, emancipating from her complicated and unhealthy family dynamic. I think we can come of age again and again in our lives and I love how Kajillionaire humorously and surrealistically shows how it isn’t always easy to be in relation lovingly, and how that is also entwined with social class and the opportunities that we are given at birth, yet love and affection are out there. Old Dolio was also a bit inspirational as a character for my interpretation of Humere :) I called the center part of the work in the image above “there’s something I don’t know that’s stuck in my throat”, which is a line from one of Humere’s songs in my musical. She’s clearly trying to formulate something in my movie but its hard to say what. And to me the slippery traces look so much like a fish trying to free itself from a hook in its throat. Pictured: TRA(there’s something I don’t know that’s stuck in my throat)VEL, 2024 carving and resin on plasterboard 260 x 720 cm Join us today at 6pm at @jfc_cinema Cinema Iride for the screening of @mirandajuly s Kajillionaire 🩷 Installation view “Johanna Kotlaris. HUMERE”, Manor Art Prize 2024 Ticino, MASI Lugano, Switzerland. Photo @gabrielespalluto © MASI Lugano

THANK YOU PARIS!! 🙏 @performissima @caterinazevola @emmacallegarin @isabella__daprile @theperformanceagency @cwb_paris and audience and all the other performers! It was very very cute 🩷 And also very special thanks to @raphaelleproust and @isa.bellemeraner for recording an acoustic version of “Rosa” for this occasion :) Next stop @backslash.festival at @gessnerallee on November 23rd! @isa.bellemeraner and @raphaelleproust will be there too to play IRL! First image: Tristan Savoy / @centreculturelsuisse On Tour 🙏🙏🙏 The other videos/photos are stolen from your stories 🫣😇🙏

“My interest in the element of water didn’t stem from a passion for actual liquids; it’s always been a more abstract thought. I was initially fascinated by the idea of flux, of how all things are always in motion. The German term for river is “der Fluss”. Both words come from the Latin fluxus. And so, it has always been obvious to me that everything that is in flux, in motion, is wet. As I approached writing, I realized that the rigidity of the structures I had internalized had to melt away, and that I needed to unravel, liquefy. Water is a fundamental element in the human body, and the most tangible way in which the inner world mixes with the outer world is through the ingestion and expulsion of liquids: tears, urine, sweat, saliva, etc. (…) In the case of HUMERE, I wanted the constant presence of water in its true physical form. I was obsessed with the idea of having a protagonist completely soaked through from start to finish. There’s something so shameful about being wet in public. It’s extremely intimate because it reminds us of our bodily fluids. It’s as if Humere keeps expelling this lake water without ever drying out: stuck in the vicious circle of her trauma and at the same time completely unashamed and unaware.” I would now add that her wetness for sure symbolizes how she is stuck, but at the same time exemplifies how something is nonetheless moving within her. From the letter exchange between me, @francescaeleonorabenini and @taissegrandiv , to be found in the dust-jacket of my book and exhibition catalogue “Jessica Jessica Jessica”. Next to the letters I wrote to Jessica, we also wrote each other some letters during the preparation for the show. They discuss aspects of the works on display and my general artistic practice, interests and approach. Pictured: “Yea good. Great actually.”, 2024 Denim jacket, epoxy resin and plasterboard 263 x 130cm Installation view “Johanna Kotlaris. HUMERE”, Manor Art Prize 2024 Ticino, MASI Lugano, Switzerland. Photo @gabrielespalluto © MASI Lugano

I binged Fleabag last week and got really emotional over how we rarely feel truly seen by someone, and how exceptional it is that sometimes we actually meet people who penetrate through the surface. In Fleabag, it’s exemplified by how the main character breaks the 4th wall thinking out loud, and the priest is the only one catching her doing it, which is so brilliant and moving. I didn’t find the show very funny, rather sad actually, but I found it humorous. And I love when humor is used as a conscious (in your face) strategy to demonstrate ways of coping. She falls in love with the priest, and I keep wondering what it is about him that is so hot. He’s Andrew Scott, so that’s hot, OK, but is he also hot because he’s a bit of a deranged priest? Like, he obviously came to Catholicism because he was a little messed up, so is the fucked-up side of him hot? Or is he hot because he’s the ultimate daddy? The ultimate… father? I’ve been thinking a lot about Catholicism as a value system that has very clear moral codes, relieving people of having to make their own decisions or judgments. Or how it’s generally impossible and/or an unnecessary simplification to divide the world into good and bad. So maybe this is what makes the priest hot—that he personifies the inner conflict that makes us human? And that those categories of sin and pleasure are too entwined? And of course, the concept of sin itself is extremely weird and complicated. This is also why the fight scene in my film was so important for me. Max is hoping to feel something, anything. He needs Humere to beat him up because that’s what gives him pleasure, or just a sense of self. Does that make her a perpetrator, or is it an act of care? SAINT is the slogan on Humere’s sweather, repeated on one of the wall works now on show at @masilugano alongside the film. “SAINT”, 2024, carving and photosensitive paint on plasterboard, 200 x 720 cm Installation view “Johanna Kotlaris. HUMERE”, Manor Art Prize 2024 Ticino, MASI Lugano, Switzerland. Photo @gabrielespalluto © MASI Lugano

Beating up @jan_tsien_beller every day at @masilugano 🥹

🌪️💜 CCS. On tour à Paris avec le Centre Wallonie-Bruxelles/Paris 💜🌪️ PERFORMISSIMA VEN 18.10 / 12:00-00:00 Le CCS participe à la première édition du festival @Performissima au @cwb_paris. Pendant 12 heures, 50 artistes de 18 pays occupent artistiquement les lieux avec des performances iconiques et inédites. Du côté suisse, Johanna Kotlaris, Rebecca Solari, Gregory Tara Hari et Pinky Htut Aung sont à l'honneur. ↘︎ JOHANNA KOTLARIS. Humere (création) Humere est une femme zombie cherchant des remèdes pour guérir. Elle questionne la valeur de son retour à la vie par rapport à son existence actuelle, tout en abordant la responsabilité individuelle face à l'épuisement et aux traumatismes, ainsi que celle des systèmes sociaux dans la création d'espaces de soin et de renouveau. ↘︎ REBECCA SOLARI. Primordio e Parsimonia Primordio e Parsimonia est une ode à la libération de molécules, d’espoirs sombres et de mythes, présentée comme une composition d’opéra-trap-drone-trash. Rebecca Solari propose des tableaux absurdes en dialecte tessinois et français, oscillant entre le spectaculaire et son inverse, tout en explorant des idées pour sa future pièce, Solo Brodo. ↘︎ GREGORY TARA HARI & PINKY HTUT AUNG. Damned and Doomed Dans DAMNED AND DOOMED, Gregory Tara Hari et Pinky Htut Aung explorent les malédictions comme moyens d'affronter le chagrin et le traumatisme. Les jurons, souvent perçus négativement, sont présentés comme cathartiques, offrant un soulagement à la douleur. 📍 Centre Wallonie Bruxelles 46 rue Quincampoix - 75004 Paris 🔗 Détails & tickets : lien en bio / link in bio