From the text by Piotr Lisowski (Epidemic, CoCA in Toruń)
„(…) Entrance – and at the same time the body – was the starting point for the performance Imponderabilia by Marina Abramovic and Ulay from 1977. Naked artists stood motionless at the entrance to the museum, while the audience wanting to get in entered into direct contact with their naked bodies, squeezing between them, having to decide with whom of the artist to come close.
Liliana Piskorska peeps this canonical gesture, at the same time allowing others to peep herself. Her videoperformance takes the casket form (…). It summons two shows, the first of the Galleria Comunale d’Art Moderna in Bologna, where Abramovic and Ulay’s performance was held, as well as the second one, The Theatre of Life held in 2012, in the Centre for Contemporary Art in Torun, where the film documentation of that action was shown and where the video by Liliana was recorded. Sitting on the floor, the artist is watching the performance. Two cameras determine the perspective of the artist’s action and the perspective of watching. The action seems to be simple, the artist is playing with herself by eating a juicy watermelon. The fact that she is doing it in the gallery and on the occasion of watching the canon of the history of performance, seems a harmless addition. The prospect of seeing imposes highly erotic and fetishistic nature while enforcing overwhelming feeling of voyeurism. However, this naivety and immaturity seems to be a coquettish game. I do not follow the narrative but only her movements, unable to shake off the feeling that I am still behind her.”