Mariel reports from the Black Kit performance art archive, Cologne
The rest of the week lined up around the routine of coffee drinking and tossing around a few ideas before continuing with our individual research.
Boris Nieslony's work and his philosophy became the subject of my interest. At this time he has been working on his progressive mobile sculpture of communication involving around 4,400 participants, including performing artists and online magazines, and utilizing texts with nearly 240 terms and definitions of performance art. It's been very helpful that Boris kept a record of our performance history making it accessible to others.
Nieslony's remark on his ongoing mobile sculpture of communication illustrates the scope of the project:
"In the beginning there is an astonishment facing the inapprehensible, the epiphany, the embodied spawn of the tremendousness."
Commenting on "The Question", Nieslony comes up with the philosophical twist of literally entering the zone of inquiry with caution of the interplay of similar meaning of collecting the informational data and at the same time creating juxtaposing it to individual intimacy with his counterpart.
He says: “With what I do protrude into the question? And with what you do protrude into the question? Being my counterpart? Paraphrasing a Talmudic legend: If a child is born and an angel appears, the knowledge of the truth will be taken away, for otherwise it could not live in this world.
When I started to research various styles of posing a question, an atrocious doubt arouse in my mind. Does posing a question represent a desire for impossible, and is it a heart's will to ask? The atrocious cannot be communicated, it is embedded into the very structure of re-presentation. Every “real” question is invisible and not askable, with potentiality of an image. It should be economical in its impact, like every riddle.”