In this paper I will endeavour to portray the problematic of cross-cultural identity in Australia through my performance art project Most [The Bridge] and its predecessor Katedrala. This ongoing project was demonstrated through simultaneous performative encounters set in urban and social contexts that were remote to each other. The simultaneity was determined by a multiplicity of actions interconnected by telephonic correspondence between remote performers. The strategy that deploys telephonic communication, or monologue à deux, offers a possibility to illustrate a “third space” or “space in-between” that has been discussed in great depth by theorists such as Paul Carter. I will refer to this terminology and representational possibility from a perspective of a migrant and an intermedia performance artist.
There will be three sections addressed separately in this paper. The first section will portray the backdrop of the political conflict in former Yugoslavia, which will briefly translate the appropriated terminology of the “cultural Other” to my own cultural background. This context will provide an overview of the impact of geopolitics to the formation of cultural identity within a host country, such as Australia. Such migratory movements impact onto the perception of identity construct in a cross-cultural milieu such as Australian multicultural art. This section will also provide an informative backdrop to the underlying influence of migratory shifts to my temporal performative projects. The second section will describe the project and its outline. The theoretical framework delineating Paul Carter’s concept of “in-between spaces” will be discussed in the third section. This particular terminology will be discussed in the context of the specified performances.