Newest video, desire or self-destruction?

Lala Drona’s latest performance video titled “Willing” has just been released.  The performance examines desire, choice, and notions of consent.  Critic Leanne Richmond stirred up media response with her recent reading of Lala Drona’s video, stating that, for her, the video is about “the inability to resist self-destructive behaviour.”  Based on a Fact caught up with Lala to learn more about the inspiration behind the video performance:

Lala Drona was inspired by ideas surrounding consent.  “I was thinking about the complexities of sexuality and society, and how in order to receive consent, we must in some way, already trespass.  In my video, this is demonstrated by how you cannot see the answer (yes or no) until the irreversible move is made by shaving.  Unwanted advances, verbal and physical, are seen as harassment (regardless of gender).  However, without them, we do not know how to begin advances towards what we want.  In a similar vein, this notion of obtaining consent is not at all new to women.  We have been systematically programmed to ask for consent to speak, consent to be part of to the team, consent to just be in the room.  Women asking men to start including it in their sexual practices is really nothing in comparison.”

Lala Drona mentions that the title “Willing” is not meant to be understood at face value, and is meant to be taken as humour au second degré.

Nonetheless, art critic Leanne Richmond theorised that “since Lala Drona is the only individual in the piece, this is really a piece about identity and the psyche.  The performer is asking and receiving consent from herself.  This demonstrates the loving and destructive acts we commit on ourselves.  In the video, although the performer’s psyche is saying “stop” (on the skin of her head), she is unable to resist the temptation to self-destructive behaviour, shown by the shaving of the rest of her hair.”

What do you think about Lala Drona’s newest art performance video? 

Spotted: Lala in Paris and on Crutches

Despite plans to return in August 2019, journalists have recently spotted Lala Drona on the streets of Paris sporting a new look. Ms. Drona has left her hair bleach bottles behind, and has returned to an auburn look this summer.  Accompanying her winter 2018 OAMC vest (menswear), she sported 2019 Nike-Ambush collaboration sneakers, topped off with her iconic round sunglasses by Gentle Monsters.  Previously, Lala Drona had never been caught wearing designer clothes on the streets of Paris…which begs the question: What’s with this new look?

Fashion specialists speculate that Lala’s new style reflects her growing financial success in the art world. Lala Drona can simply afford to wear the pieces that she admires, and therefore does. Another theory has Lala Drona and these brands in cahoots, suspecting a secret endorsement deal. Whatever the case, the accessories which intrigued and concerned journalists most were the crutches which support her. 

Lala Drona refused to comment when approached on the street, but journalists presume her injury was cause for her return.  Our team followed up on the story and traced back Lala Drona’s steps from her European voyage. Having stopped in Copenhagen on her way to Paris, we met up with passenger assistance.  Lala Drona, had checked out a wheelchair, and employee Emil Hansen was selected to help transport her to her terminal and airplane.  “She was friendly, and we made casual conversation.  She told me that she injured her knee painting.”

Emil Hansen failed to reveal details regarding the story, leaving journalists and fans in the dark regarding her hard core painting methods.  However, one thing is certain. The European Tour has come to an early end.  Lithuania was the last stop on Lala Drona’s year-long tour, and now she is expected to settle in Paris once again.  

This is BETWEEN US.

For the past four weeks, Lala Drona has escaped the hustle and bustle of the city and has retired in the small town of Kintai, Lithuania.  Away from distractions, Lala Drona has created a new diptych titled “Between Us.”

The first panel depicts several figures ascending, while the panel on the right depicts the same figures descending.  After an interview with Lala Drona, Diana Springer from the Daily Artlife Network relays what the artist said about these paintings:

“Between Us demonstrates the two choices that women have, starting from our first encounters with one another. We can ascend together, or destroy one another. The asymmetrical reflectivity of the bodies represent the slippery difference between creation and destruction. Observations show that first encounters between men and between women differ in the western world. In first meetings, men approach other men as if they are “friends first, and enemies later.” They are friendly, until the other provides a reason that they should not be.

In a world where women are statistically offered less opportunity than men, it is no wonder that women approach each other as enemies first. There is a smaller piece of the pie offered to them, so they are pitted against one another to fight over that smaller piece. This is why women approach one another with the mentality of “enemies first, friends later” (Springer, Daily Artlife Network, Issue XXII).

Lala Drona also stated that in her experience, not all women approach other women as enemies first.  “I’ve met women that are absolutely welcoming.  Other’s have given me the impression that I have to prove myself before we can be friendly. I created this diptych to show how we [women] may also be contributing to systematic oppression.”  This piece serves as a call to action to all women.  Lala Drona claims that the first step to unite as women is to change our perceptions of one another in our first encounters.  Perhaps, if we can see one another as allies first, rather than competition, we will be able to protect and trust one another.  And in the end, help each other rise to create a world where we can exercise our potential and prosper by our own rules.

Based on a Fact