About

Biography

Marialena Marouda works in the fields of performance art and choreography. She studied philosophy and visual arts at Columbia University in New York, USA and continued her studies at the Institute for Applied Theater Studies at the University of Giessen, Germany. She is currently developing her research project Oceanographies in the framework of the artistic research plattform advanced performance and scenography studies (a.pass) in Brussels, Belgium. Her most recent creation, Poetry Exercises: an archive of (un)familiar things, had its premiere in the Frankfurt City Archive in October 2016. In September 2017 it was invited to the International Performing Arts Festival in Terni, Italy. Other works include the Dictionary of invisible work (2016) which she initiated and authored in collaboration with Heike Bröckerhoff, Milka Ivanovska and Jasmina Zaloznik, Poetry Exercises (2014), Walking in the city: on the poetics of space (2013) and Walking Exercises (2011-2013).

Marouda participated in the first cycle of the program Critical Practice (Made in Yu) (2014-15), the goal of which is to intensify the discourse around performing arts practices and the conditions of their production. During and after her studies, she also participated with her work in the projects Entropic Institute (2012) and Anarchiv I (2008) by Deufert & Plischke, Garden State by MAMAZA (2014) and in the Walking Festival Zusammenkommen. Zusammen Gehen curated by Martin Nachbar (2013) among others.

Artist’s statement

Marouda is interested in performance as a tool for attaining and for sharing an embodied knowledge about the world. Her performance practice focuses primarily on relating to and on inhabiting spaces. The experimentation with walking, listening and storytelling as relational social and spatial practices forms the basis of her work.
Site-specific formats that exit the theater(s) and enter the public space(s) are increasingly relevant for her. The nomad Archive of (un)familiar things, for example, is presented within different city archives. The aim of the work is to propose an alternative, possibly "minor", history of the city, and to enter into dialog with a city’s institutionalized memory. Or again, the Dictionary of invisible work, made up of definitions of invisible professional activities, is indeed a small book that circulates out in the open, inviting its readers to contribute to it. Essentially, Marouda’s interest lies in collecting experiences of inhabiting spaces into a multiplicity, organizing them, and sharing them with the visitors-participants. In this sense the performance space becomes an archive, a space where the visitor can linger and engage with the work in her own time.