Vom Wesen des Grundes 2

Mystagogy is the introduction to something one cannot or should not speak. We can say it is an initiation to a mystery. Dystopia is the opposite of utopia and it often means a fiction about an undesirable future. But it does not have to be fictional, undesirable, and it is not necessarily about the future.

A mystagogic dystopia is a latent truth that becomes present in an unexpected way.

I am aware that I shall not remain at the center: my body is only worth seeing because it may facilitate the vision of things that are not visible.
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Performance art does not seek an audience; it is not a show. It is an action. It is the performer who performs the action but being a performance depends on it being witnessed. Witnesses make the performance.

Performance is art because it makes invisible things become visible. This was Paul Klee’s idea of art too. We could draw on moral lessons or conclude that war is art too because it makes our hatred visible. Then I would say we do see our own hatred but sometimes we prefer to keep it to ourselves. It is a simple thing to hate secretly. Hatred is free, while love implies knowledge.
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I wish that Vom Wesen des Grundes will not be an update to the homonymous essay by Martin Heidegger, or a study about the position a performer occupies in space, or a dialogue with one of the most relevant painters of our country. It will be all these things together and, if chance is in, it will also be an initiation in the art of not believing in anything in particular.

I could thank some people I admire and love for the conversations, complicities and revelations during the last two weeks but since they know who they are, I refrain from sharing publicly something that we do in privacy with some much pleasure.

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