Koan, Daily Life Plot – In foreign Tongues
“I am forced to give, what I don’t own.
Riches of empty Hands.”
This research is a partial concept of the fundamental and basic conceptual performance series „Koan, Daily Life Plot“. Walls, rocks, objects, dead birds and especially plants, trees are here the triggers for gestures and lingual utterances that do not refer to any existing language and its sensual references. They are “direct translations” out of deep physical and psychic sediments that do not allow any hints or references to any structures of daily life communication.
This communication that could be defined to be “pre-cultural” exists within and between all cultures. The “direct translation” is immediate and sudden. The degree of the un-transmittable is defined by the degree of its very specific emotional depth. All cultures are known to “talk in angelic tongues”. The communication is basically humane.
„Talking in foreign Tongues“ is reducing the timed impulse between the perception and is de-uttering into the shortest possible time-unit / a nano-unit – and opens up the delineation of a very specific field of energy and another form of time.
The choice, to use photos, depicting murdered persons – abused persons for this performance does result and derive from the intense occupation with death itself and especially with the legal question, the collision of the “natural right” (habeas corpus act) of a human being to live unscathed and the political claims of a “right” to kill in the name of laws, rules and rituals.
Out of which motives and motivation do humans, institutions and governments claim to have the right to kill humans, groups of humans?
During this performance, the photos transcend me into a condition of complete speechlessness and lead me into a hay-wiring, intense vacuum. I am exposing myself to this fact emotionally extreme and reaction-less.
Am without terms.
After a while, I pick up a sheet of white, unwritten paper from a staple for each photo and start to tell a story, based on the photo. Out of the total reactionlessness – I jump into an activity, project life performative onto the empty sheet, am completely the fiction of a life and an encounter that has taken place – that could have been possible. That happens NOW.
From one person to the next one, until complete mental exhaustion defines the end of the performance.