Palm Springs 3

Performance is a trope of speed, yes. That’s why I play with time. Time moves slow in Palm Springs and so do I. Performance can be a very slow action because the speed it binds us to is a speed of consciousness, that quickness that makes intuition so much more agile than conceptualization.

I thought I could use raw footage and show it as is. Then I remembered that I have a privilege which is: seeing the priority of the unexpected. ‎So we crafted a hybrid that is not a music video, not a documentary, not cinéma vérité, not the literal account of a performance as if there was literalness at all. My witness recorded my performance and by sharing it we make you witness something different, and we edit that writing so that you remember this is a kind of writing. Still, this is “a performance by Francesc Oui”.

Please, look beyond myself. If the action were about myself, it would be true but it would not be relevant to you. This is not about me getting high. This is me being performed. The sound came after the image and it will only fade afterwards. The music is playing for you but you can mute it for the sake of verisimilitude: there is only silence in Palm Springs.


Shameless is beautiful. / Time separates us.

Palm Springs 2

What matters to me is the fact that those singular temporalities abolish the internal feeling of individuality and the emergence of my superego. This is why I want to display myself out of control, although under guidance. Being out of the control of the superego means the letting go of repressive values such as morality, and negative social values such as shame.

I am okay with people laughing at me as they see me losing control and I am happy if you do because exposing the individual fears that support shame is the one of the objects of this performance. Palm Springs is about the sublime in shamelessness.

The other object of this performance is, as I say, the search for singular temporalities. Different perceptions of length unfold. Superego is cancelled. I do not represent myself. Performance is never a representative art, at least not the way I perform. But it is hard not to represent oneself. To do so, I have to unrepresent. To unrepresent, I have to let myself go. Therefore, Palm Springs is also a journey in toxic mysticism.

Performance can only be presentative, i.e. non-representative; and time tells that each performance operates upon reality by accelerating the intuition of the witnesses, and sometimes even the witnesses’ awareness and conceptual capacity, the capacity of thinking themselves through. Performance is a trope of speed.

Palm Springs

I am very interested in experimenting with time and length. I do not believe the reality of predictions; I wait for the future instead. No one has proven me the reality of death either, so why even think about afterlife. But I do seek objects that open my perception to qualities of the past and especially of the present. Those objects have different levels of materiality. Anti-wrinkle cosmetics are tangible and have an effect on the body; they are meant to modify bodily signs of age. Memory cards and other scripture supports are tangible; they store pieces of encoded information. Breathing allows for meditation, focusing on the present or bringing back memories, while some drugs allow for an expanded perception of the external time span.

They cancel the belief in a common, countable time and introduce a psychic space where length becomes singularly experienced. The projection of subjectivity in time takes the form of a singular temporality. If one is not sufficiently informed about the purity and pharmacodynamics of a given substance or is not willing to fall forwards irreversibly, there are ways of researching otherwise. And if someone adheres to the death drive in such a way that it is balanced by the principle of pleasure, which is the love of being alive and not doing harm to anyone, a guided and well-informed intoxication may open up new circuits of enhanced aesthesis or partial anaesthesia.

I made decisions through contingencies and serendipities of life that eventually brought me where I am standing. I believe I have found considerably safe ways to take the risks I, as a performance artist, want to take. I am thankful for the people I can share my singular temporalities with because they are already an evidence of the Continuous Body over time.