Lenka Klodová, as always, opened the festival with her performance. FNAF is political, so its performance also refers to current politics. She appeared naked, with yellow flowers on her breasts, blue on her crotch, and red on her ass. In this way, she welcomed especially artists from Ukraine on the Vltava boulevard, next to the culture boat Altenburg 1964.

Olha Skliarska performed next to the boulevard. Initially, she appears static to the audience – she stands with permanent sculptural elements made of plaster, placed on her head, hands, and feet in such a way as to prevent movement. Apart from these, she is naked. When these elements are removed, it covers the body, including the face, with green paint, as if with camouflage, and “disappears” in the grass. Then she takes another action to prevent movement – she wraps a bandage around her hips and breasts. Finally, she puts the sculptural elements back on, creating a unified form out of herself.

Vlodko Kaufman performed next to the boulevard. The final sequence was breaking the glass windows suspended in the space of the ruined structures of the demolished building with a throw of a stone. He then lay naked on the glass in a fetal position and stayed that way.

Philemon Mukarno incorporated his naked body into iron rods – the remains of the building’s structure, in the same place.

Anastasia Prozora, performing naked on the bank of Vltava, used water from the river to mix with sand and build towers, presenting as if a memory of her childhood and fun on vacation, then she lay down on the sand and stayed like that.

Alexandra Holownia, on the boulevard, starts dressed in props, doing a fashion show from a sex shop (performance of too many gadgets). She ended up doing a striptease.

Fausto Grossi, performed in the hold of the ship Altenburg 1964. In his individual performance, he first shaved his body hair and then covered it with gold, metallic pigment, presenting himself as a visual form – a living sculpture.

Darina Alster promenaded along the Vltava boulevard. Her naked body was covered with a tight-fitting pinkish mesh that did not cover her nakedness, but turned the surface of her body into sculptural matter, like a living statue. Her face was covered with an ornament of “precious stones.”During the performance, she read a text of a poetic nature, the ambiguity of which belongs to the style and privilege of the goddesses’ expression.

Dariusz Fodczuk invited his student, Natalia Sara Skorupa, to participate in his performance, and she outshone his performance because her performance was so individual and visually strong. The artist, at first as a model, stood naked on a platform on wheels and was moved by Fodczuk along the path on the boulevard. However, at some point, she started hitting her nose with her fist, causing it to bleed heavily. In the final, she entered Vltava and lay motionless on her back – she looked like a victim of a brutal crime. This nose trick was already used by her, but here it gained power. The blood is real, but the artist knows how to tune her body to make it flow spectacularly. Nudity and blood create a very suggestive combination because they suspend us between extremes such as life and death, eros, and Thanatos.

Martin Zet also created a suggestive image in his performance. He swam at night, in the dark Vltava, in a silver, shiny suit illuminated from the shore by onlookers with flashlights, looking like a ghost against the water.

A type of performance using a form of interpersonal transfers

Kaca Olivova performed with her husband on the boulevard, they were both naked and created a performance about their mutual relationship. First, she paints him and turns him into a woman – this is a phase of mutual tenderness, and then they throw paper plates with whipped cream at each other like in a slapstick comedy – this is a phase of conflict.

Fausto Grossi and Jolanda Jansen (on the boulevard) in a collaborative performance depicted relationships by swapping clothes – a trans vest fashion show – which looked comical. But in the next part, it turns into a wrestling match that ends with a long-lasting hug gesture.

Jolanda Jansen’s solo performance was also about building relationships. She appears naked, and as props, she has two naked men tied with a rope. But at the end, she frees them and runs naked somewhere ahead along Vltava Boulevard.

Vladimir Havlik, in the hold of Altenburg 1964, adopted in his performance the form of a parascientific experiment, involving the body understood as an organism and not as an appearance. A group of half-naked people stood together and measured the impact of each other using heart rate measuring devices. The mutual influence caused the participants’ heart rates to even out.