Dignity to the unsaid
performance | 2017, Bucharest / Cluj-Napoca
- performers | Alex Popa | Irina Sibef |Cosmin Stanila
work commissioned by BIDFF (Bucharest International dance Film Festival), supported by MNAC and Sabot Gallery
presented in partnership with the Performing Arts Programme of the National Museum of Contemporary Art, curated by Ioana Paun.
8 SEPT, 2017
@THE NATIONAL MUSEUM OF CONTEMPORARY ART
above photo: Alex Mirutziu / bellow photos by Doria Photography
Alex Mirutziu
I intend to look into ways in which one of the most important novelist of the twentieth century managed to create meaning through an abundance of means, said and unsaid, which I call — manners of holding the world. How Iris Murdoch closes what is already present in her work with what presents itself as— ‘something like’ — which has the potential to be. I am particularly interested in times when she holds meaning for brief moments into units of material nature (gestures, words, hesitations, body movements). When those moments take place in an interview situation for e.g., objects which are indeterminate and difficult to pin down are born. They differ from the common manifestations of form, be it writing or acting, and are susceptible of bearing no meaning whatsoever.
The question is how infiltrations of ‘what is not said’ instigate ‘what is said’ and vice versa. This line of enquiry looks at ways in which Iris Murdoch closes her distinctions in philosophical debates, with her intellect, but also her body language. And when she works the what is in language — which can only hold reality in inexact closures, communication is weakened due to the accumulation of consciousness, corrupted by memories and experiences wrongly wired to reality. The conceptual movement between said and unsaid, falls under the ever present fragmentation we manifest in holding the world as something like, a fatal aspect of our physical limitations. We fragment the world in order to understand and function within it. Such a fragmentation fails on the account of a world which is undifferentiated.
The upshot of this project is to bring into existence a new reading of Iris Murdoch’s oeuvre outside the common view of her novels letters and interviews, a reading of Iris Murdoch as a heterogeneous unit, to give her the chance, posthumously, to widen the complexity of her creation through added anchors of meaning and new setups for reflection.
The performance includes the sound installation CAUSAL VARIATIONS FOR SOMETHING LIKE (computer-generated sound, 3 x multichannel audio), created by Elías Merino, a series of autonomous synthetic sound objects based on a relational tissue involving sound and human actors within Alex Mirutziu’s performance frame. These sound entities are located/(un)located in the physical space hidden behind a mirrored appearance. Plasticity, non human dynamic entity, synthesis, irreducibility, discreteness, no objected, relation, ecology, temporal elasticity, rifts, disembodiment, algorithmic, sound sculpture, articulation, reductionism, structural gesture, permutation gesture, variation, no hierarchy, physicality, process of coexistence, miscommunication.
