Participating in a performance is a journey through different states. It begins with subtle tension, followed by a suspended atmosphere where gaze and mind wander freely. Performers' actions, even the most nonsensical, gain a unique, almost indecipherable meaning. This is the “liminal space,” a key concept in Performance Studies borrowed from anthropology, specifically concerning rites of passage. Coined by the British anthropologist Victor Turner in the 1960s, it refers to a transitional place, neither here nor there. It's about being betwixt and between the position assigned and arrayed by social convention. An experience beyond ways, where the ordinary transforms into the extraordinary.

This preamble is essential for understanding the core of Masswascut. This distinctive performance programme collaborates with prominent members of the contemporary artist community, including Madison Bycroft, Lolo y Sosaku, Michele Gabriele, Philipp Timischl, Julie Monot, and Buhlebezwe Siwani, to name a few. From September 2023 to June 2024, the series takes place at the unconventional venue of the Musée d’art et d’histoire (MAH) in Geneva, which is one of the largest museums in Switzerland, and boasts a diverse collection ranging from archaeological artefacts to applied and fine art.

The programme's title inherently expresses a clear intention. Carefully chosen by the curator Anissa Touati, who is accustomed to creating projects in unusual spaces, this term of Algonquin origin, meaning “land between two rivers,” alludes to a liminal space, a realm suspended between two realities. It highlights the remarkable ability of performance art to shape alternative spaces related to time, space and the prevailing hierarchy of power. 

Every month, on a designated Thursday, one performer—or more—takes temporary possession of the museum's spaces, establishing a unique dialogue with its collections and performing a dual function. The first, predictable yet essential for the museum's well-being, materialises in opening to an increasingly diverse audience. The second, more intriguing yet equally risky, allows visitors to shape this liminal space, crafted by performances, into a dialogical terrain. Here, they have the chance to reconsider their perspective on history, challenging the dominant narratives that form the foundations of museums in general. In essence, the objective of these performative interventions, many tailored specifically for this programme, is to question and disrupt our ingrained understanding of historical events, acknowledging their far-reaching implications on our present.

In line with the essence of the project, on November 30, the South African artist Buhlebezwe Siwani showcased her performance Phelele, meaning complete, whole, and present in Zulu. While not constituting a novel piece in this instance, the performance seamlessly integrated with the overarching theme of the colloquium "Thinking at the Edge of Worlds – Metaphysics and the ‘Non-Human’” that inaugurated the evening event. Siwani, the philosopher Mohamed Amer Meziane, the activist Clare Farrell, and the filmmaker Joana Hadjithomas explored ecological thinking, contemporary art and anthropology. They critically examined divisions between nature and culture, humans and non-humans, primarily focusing on animism.

Under the vigilant gaze of portraits, presumably painted between the 18^th and 19^th centuries and part of the collection displayed in the portrait hall—depicting some of the most significant English slave traders—Siwani brought her performance to life. She employed a vast temporary surface arranged on the room's floor, immersing herself in a continuous and automatic flow of writing using charcoal. This method finds inspiration in the rituals of ancient religions, folk legends and ancestral myths from South Africa. Like a ritual, Siwani's body and writing intricately intertwine the history of her forebears with the contemporary moment. This action, based on her background as Sangoma, or traditional healer, explores the intersection of ancestral traditions and modern life, addressing social and political issues such as colonisation histories, and delving into religious subjects and the problematic relationship between Christianity and African spirituality. The makeshift floor, a central element of the performance, becomes a symbolic device alluding to past events, embodying a simultaneous presence and absence.

The performance ideally forms a liminal space where past and present converge through Siwani's artistic practice. She underscores the importance of reconsidering prevailing notions and stereotypes associated with Africa. Within the context of this performance programme in an art history museum, the artist's efforts stand out as a contribution to dismantling a singular narrative, steering clear of the pitfalls tied to a monolithic storyline.

It is crucial to emphasise that Siwani's performance goes beyond a mere ritualistic act; it functions as a mental map reflecting the concepts discussed with the artist and philosopher Meziane and the other speakers throughout the colloquium. Like Siwani, Meziane, the author of the book At the Edge of the Worlds: Towards a Metaphysical Anthropology, has dedicated himself to critically examining the weighty colonial legacy. This profound process of examination includes, among other things, a critical reflection on the Western concept of “religion,” often employed to justify colonisation policies.

Siwani's writing, imprinted on the floor surface, will be on display in the portrait hall temporarily. Like the Rictus mannequin used by Julie Monot in her performance on November 2 and now housed in the landscape room, it serves as “performance remain”—a trace visitors may casually notice or explore, formulating hypotheses and making connections. Masswascut, while not striving for bold innovation, stands as an exciting rendezvous. The upcoming performances in February by Philipp Timischl and Zoe Williams promise more surprises, unquestionably deserving attention.