Performing one‘s desire, dancing it, singing it, exchanging and expressing it in an ambience that allows living presence of a community, thus feeling and living it—it is a thought in action, a happening, a hybrid of an outburst and a rupture, it is a trans-situation, a trance.
The desire is an offender, a violator, a rebel capable of militantly-aesthetic intervention in the here-now. Presence as such. This militancy is fantastically paradoxical: being aware of the history of resistance, we resist by not opposing, we let go, we give up the fight mode to revolutionize the very existent we live in. Our impedance is in approaching beyond the fetishism of consumption and continuing la lutte in a different manner. It is about an ‘impossible‘ performative gesture of establishing one‘s own presence in conversation with all the other presences, therefore it is about understanding the other, unconditionally, it is certainly a transcendency. Flying and being carried by the wind at the same time.
Performing the desire could be a matter of moment or a long lasting experiment, a timeless process. Practicing the art of an-art. An-art positions itself on a margin being aware that there are no margins, that it is always about wholeness, belief, trust. It emerges from the forbidden, putting itself beyond Aesthetics, beyond Discipline, right in the aesthetics of mess, in perfect disorder. This art escapes from the centre of an ideology as it is not, unlike Art, intended to justify neither ideology nor any intention, brand or abstraction. This artist is self-organized and empowered when involved in (artistic) communities. His ideas allow entering of other‘s ideas in the common net of practice, and this network is not only physical, therefore it is limitless.
Instead following the assumption that there should be an audience, a different performing strategy is to be implemented and invented again and again: everyone for everybody. It is a matter of an open constellation and an inclusive articulation of body-related (multi sensorial) intentions.
This art is processual (process means joy) and based on decisions subjected to a flow of revisioning, influencing and changing. Not necessarily looking forward to refuse the laws of the field of art, but certainly willing to play with them. This art could not be put in any legal(istic) frame as it does not need a license or any instance to legalize, codify, determine, frame, limit, wrap, classify, standardize or mark itself up. It is a creation ultimately beyond regulations, it is chaos as such, an embodiment of consonant disorder. Joy.
Performing the desire allows (one‘s) liberation beyond hierarchies, it is therefore an act shared with whoever. Such act cannot be art-ificial. Abolition of art for the sake of living it wherever and whenever.
You are consciously crazy, still not insane.
Why fuck the System? Notice its unimportance.
Mind Aristotle, yet let him go.
‘Dramatize‘ the situation, do not situate the drama, let your drama go.
This text is a translation and an update of the intro chapter of the book Performans-kritika (The Performance-Critique: a Turn into Abolishment of Art) by Nenad Jelesijević.
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