Zizi Rincoliskys performances represent similar to her film and her installations a metaphorical conversion of the speaking being’s psyche.
As described in the concept this transformation appears in the form of texts, acoustics, images and means of experimental psychology.
Zizi applies multimedia artistic expression in order to stimulate the senses of the viewer.
Her focus is on the day-to-day encounter with the subject who speaks: the child, the mother, the woman, the man. Her aim is capturing their delusional ideas and transforming them into works of art.
Each performance contains an installation, drawings or a sculpture and/or a film, part of the story, which are then exhibited in a public space or commercial gallery.


Knotting Non Sense to Sense





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la mer-la mère

La mer - la mère - das Meer - meer - mehr - more - encore

Jacques Lacan : "Encore", Seminar XX on Feminine jouissance.

Performance at Warren Beach Rosscarbery, West Cork, Irleland, 2007 and 2008, West Cork Art Center, Summer exhibition










Drawn by wild confusion
I went down to the shore
Playing the desire of the mother
And its infinite horizon

The pain’s sweet wound subsides
In the tide
Without logic or meaning
And brings a halt to the ripening seed
The circle of life’s unfolding
Embryo, birth and looking glass
Reveals the drama of desire
Which in its melancholy
Is left unsatisfied

The other voice which
shapes the sense of you
My dearest. (pause)

In my watery reflections I decipher
Love and hate

Beyond the sea of discontent
Discerning the abyss
Between my ideal self and I

I face the source
of all destructive power





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mer - la mère








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The Thing

Performance / Film
2010 - Brussels

Zizi Rincolisky and Celine Bourseaux represented the original performance ‘Das Ding’, which illuminates the relationship as a couple.
While her performances ‘la mère-la mer‘ and ‘Solitary Confinement’ are about the mother-daughter, ‘l’amour fou’ about the man-woman, the thing turns around the mother-son relation. ‘The Thing’ is what is excluded from the virtual mirror axis of ‘I and me’, what cannot be seen. “id"* cannot be grasped verbally as it is excluded from individual speech and thus inaccessible for the speaking subject.
In relation to the other ‘Id’ acts by repeating itself, by destroying, by having Angst, the latter increases to paranoia in the performance. The relation in pairs becomes a ‘folie a deux’.
While Zizi recites, Celine Bourseaux transforms ‘id’ into an object on which something of the thing becomes transparent. "The Thing" as wooden sculpture with inscription, metaphor for something that is external, though always returning has been inserted into the film of the documented performance.

*"Id” , Freud’s Term for the Unconscious




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Solitary Confinement

2010 - Brussels


The transparent acrylic glass container represents the uterus in which the unborn female child moves. The voice of a spoken text describes the effect of the mother’s destructive rapport with her partner on the body of her unborn child. This fete developed a severe bodily symptom at 32 weeks gestation that persisted for years after birth in a relapsing manner. Each time this symptom was triggered by her mother’s paranoid/hysterical passages a l’acte against the other, her partner.
The child in general takes the place of the mother’s missing phallus (see concept) meaning it occupies the place of her lack. The container represents  our confinement to this position , the mother’s lack becomes our lack , the mother’s failure concerning the other  becomes her daughter’s failure or lack even if the latter attempts to rebel against it for a certain amount  of time.
The consecutive inner monologue of the 9 women (age 6 to 86) who spoke through Zizi’s voice in the performance “Solitary Confinement” gives evidence of this confinement, which even starts in the uterus.






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Solitary Confinement

2011 - Berlin

Performance, Hebbel Theatre Berlin 2011, Hau 3, Festival 100°
Stage equipment: 3 video projections, 2 canvasses of fabric, one couch


The performance ‘Solitary Confinement’ is a theatrical representation of the female père-version, situated in the mother-daughter relation. The mother includes her daughter in her castration, meaning her inability or void concerning her husband. All girls and women age 6 to 86, who are played by Zizi Rincolisky are confined in their mother’s imaginary idea about the father or father substitute; her speech on the psychoanalytic couch gives evidence of the ravages of this père-version, the version on the father. Celine Bourseaux and Zizi are confined in the mirror play of mother and daughter, the latter fixes one significant element of this narrated version on the canvas.

Even after the tearing and aggressive throwing of the shreds, yes even during the absence of the mother this imaginary idea about the father persists, there is no dissolution of the symbiotic mother-daughter relationship.




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L’Amour Fou and Pikachu

2013 - Berlin

Performance by Zizi Rincolisky, Hebbel Theatre, Festival 100°

Pikachu, extraterrestrial hermaphrodite, sexless, eternal child, product of the nonsensical signifiers of his displaced parents! Who has it? Father or mother? The phallus remains signifier of the void, no body has it. In his fantasy Pikachu has it, because the mother attributes it to him by her words. Thus the extraterrestrial hermaphrodite lays it down in front of his mother on the stage, cuts his hair and veils the phallus with it. Through this act the hermaphrodite makes a choice, it identifies with the woman who at the end of the film l’Amour Fou seems to have the phallus as the signifier of power. But it is a veiled, imaginary phallus, that the mother has, which seems to fill her void. Pikachu becomes the tom boy (garçon manqué), the boy who is lacking something.




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The Oral Drive











© 2019 Zizi Rincolisky