video-installation: Kolysanka @ Bydgoszcz, 30. 09. 2011
„Where you bathe in light, i dim those places, - and die.”
A stooped naked woman behind the mirror. What`a pose. Someone says she hangs on the bank of the lake. Ready to dive into the deep.
„There is no sleep so deep I would not hear you there."
Others say she talks about Rockaby by Beckett, transforming the movement of the rocking chair`s force and back into continous submerge into and emerge from water. We see her behind the illusion in matchless space in projected video on the door.
„Like a window. ` sitting at her window quiet at her window only window facing other windows ...”
Naked like a newborn child.
A face turned down. It breaths and talks. Is the spoken word transcription, confession, offering or different then our imagination?
And the light.
Where does it come from?
A pale shadow peeps beneath the face.
A pale shadow peeps beneath the face.
If she is in the lake, at dawn the light has to come from the east. But in the video it came from the right. When we read text on videoscreen, according to the direction of reading it comes from the end. What is the end? A place to die? T.S. Eliot wrote in East Coker „In my beginning is my end” and „In my end is my beginning.”
In the flipped video-installation light comes behind and above us. Like the position of the camera in the films of Tarkovsky. In this wise we come in for same emanation of the light.
But we find ourselves in darkness and Zaklina is shining. Who is she and where does she gets the light?
She is ...
„for another another like herself another creature like herself.”
She ... recitates a text, - maybe looking for primordial man, who was both man and woman. A linguistic analysis of Beckett`s text shows that she avoids overt subjects as much as is syntactically possible.
But why?
There is a border, that runs between verbs and nouns. The language we use is made up of two unequal forces, with radically different origins. The verb, the logos, the law, the concept of proper conduct preceded the nouns.
„till in the end the day came in the end came close of a long day when she said to herself whom else time she stopped time she stopped …”
The text points beyond itself. It is mantra. A pronounced mantra is a useful tool to lose consciousness. But if it is a mantra, there is a rite in action and we become aware of the descent and the rise of the Soul.
Rites.
Tradition knows that both the smiling Buddha and the suffering Jesus are one.
Unique.
Only those can attain enlightenment who suffer.
Behind the mirror, bruise and joy, passion and serenity become one.
The mantra becomes silence.
The coexistence of spoken words and concealment points beyond what grammar is capable of.
Adam Kadmon,
who was both man and woman, has replaced the Desire of the Mother with the Name-of-the-Father.
Adam, who says in his 139th Psalm, „There is not a word in my tongue, but, lo, O Lord, thou knowest it altogether.”
The place to die.
An illusion of reincarnation grows out of misconception. What sauce!
An absence of nondual awareness.
Death is the tool to become one.
In the opening scene of Andrej Tarkovsky's film The Sacrífice, it is said: „You know, sometimes I say to myself, if every singie day; at exactly the same stroke of the ciock, one were to perform the same singie act, like a ritual, unchanging, systematic, every day at the same time, the world would be changed. Yes, something wouid change, It would have to.”
It is up to me what I take with me to eternity. The sea, the early morning breeze, the scent of lavenders, hiding-spaces of wild strawberries and this performance by Zaklina Piechanowska ...
Dóra Attila
Under Gemini about Virgo
Used fragments from texts:
Dagbjört Vésteinsdóttir: A Mother's Love. A Lacanian Psychoanalysis of Samuel Beckett's Rockaby
Valentina Bianchi: Subjectless language: syntactic aspects of S. Beckett's "Rockaby" (2003)
Milorad Pavic: Dictionary of the Khazars, Female Edition, Forum, Novi Sad
Milorad Pavic: Dictionary of the Khazars, Male Edition, Vintage, New York
Arvo Part: Sarah was ninety Years old (ECM 1430)
Hamvas Béla: Silentium, Vigília, Budapest
Józsf Attila: (Ha nem szorítsz …) poem, 1936
T.S. Eliot: For Quartet
