Boris Nieslony

First, I waited slowly,
then faster and faster,
now, at the right moment, I am late

 

 

Fragments –
A history of art, of any art, here in particular performance art is possible but it is anachronistic (it misses its time and permanently misses its target). At the same moment this missing the time is the dialectical representation as an image, as a figure of a 'Similar Presence'.

 

Does it show itself or does one see it in the cynicism of the actionist-social delimitations and demarcating? And finally does one see it in the formations and representations in the performances, in the cultural excesses and in the social or political habitus? Culture evolves, is inscribed in a present time, and is read in another time, if at all.
What is it that I get to read and see every day? The practice of referencing?
In its form, in its expression and in its place of happening, every performance is forced to the independence and the necessary distance of the acting person. This distance allows recognizability.

The appropriation of performance, the putting oneself into the image, decomposes the image, the ego illustrates itself, freezes into fetishes of the representative. The quantum leap from fullness to overindulgence.

Encounter
Performance, the appearance of images, gestures, actions are experiments with reality as a quasi-reality, which work into the open. I am not free to begin the life in the world in the liminal state. Thinking in this way is to being able to move to the margin of the experienceable, the world-encompassing action-laboratories.

Cooperations
What is a cooperation, more correctly, how is a cooperation? This question can almost be described as too negligent. Hannah Arendt spoke of the essentially given – 'to be a human being among human beings'.
Well, so it be given, the cult of interpretation. A cooperation can emerge directly in any collaboration. Cooperations do not require justifications to function precisely, they can be seen as technical, cybernetic processes.
In the theoretical study of network, I made three distinctions:
     The 1. network is physical, a closed system, and it functions strictly one-dimensionally in the direction of subsistence.
     The 2. network is mental and exists in differentiated connections, the network of intention. It includes the first network mentioned above, but conversely the first network does not include the second. This one also works in a system of arrangements. Collaboration as the recurring contribution of activity and communicative performance to achieve goals that correspond to both systems. The term is used for groups of people who work on a common project, life is overlapping.
                                                                                                   Nowadays there are more and more people who forget their name.
    

The 3., the poetic, mental network.
The mental personality is not creative, it lives in the encounter with other people, in time with the living and the dead. This person is not active, does not work, it is in the attention. It is present. No attachment to institutions or any kind of organization. The flowing energy between persons, this immaterial being is the continuity in the times. The being in between persons, things, spaces and times. The networks realize themselves in the direction of the mental networks, wherein they merge. Heidegger calls this "Zuhandenheit" (German word), a technique of knowledge concerning the peculiarities of human affairs. The paradox of being your own tool – that every breath you take will end in two ways. The next turn, I strike the thread in the network of ties.
What constitutes a performance network, what do the performances in it look like, and more specifically, how do these actions as network behaviors appear? How is this to be drawn topologically as practice? Diagrammatic contextualization proved to be helpful. In the context diagram of performance art developed by Gerhard Dirmoser and me, published around 2002.

Prominent methods are evident
a) in The Lives of Infamous Men. There /, in which / [weglassen], Michel Foucault describes and defines the unmasking of the discourses of power.
b) in the permanent implosions of obsolete human norms and spheres, and
c) in the vivisection of one's own existence by oneself.
With this, much is said about the practice of performance. A complex bunch of formats made up of diverse networks will now be briefly outlined.

 

Oh poor Yorick, you are like me cognitively limited.

 

ASA Art Service Association
ASA is not an art project, it places values into transfer. As a result, communication has a precise effect on all cultural activities, including art.
ASA renounces the style and the formula performance because ASA works in the present.
ASA exists only when there is a will to act, a service is to happen, or is being given. Just as with any tool there is no utility in the use of ASA. It is only by placing oneself in ASA that the sense, a public of desire, is created. The transfer and exchange of values. Any kind of public becomes a forum in ASA. If this tool is not made use of, ASA exists only virtually.
ASA is a stringent, culture creating software. Non-linear and not determinable by ASA, free-floating formations materialize in unexpected places, in which ASA then sets the required frame. Afterwards, the materializations disappear again in the indefinite pool ASA, -quantum poetic.

Rent An Artist 
A place and a time that no longer mark the audience as audience are to be determined. The task is to temporarily free the people from the "displaying for show" to wrest the artist from the grip of art. And the stringent task to expel the performer from any stage, an example of a well-managed infamy. The many places and the diverse times meet in the service, whether requested or not. Every request is answered, every possibility is examined, and every medium is given a chance.

The E.P.I. Zentrum The Epicenter of Performance Art
The E.P.I. Zentrum explores and reveals E.P.I phenomena and lifts the singularity of each performance far into human existences. The E.P.I. Zentrum reveals itself in the wide gap marked by fracture lines and rejections. One rejection is the partial or total absence of ethnographic, anthropological, and anthropognostic investigations in one's own and foreign societies. The property of prefigured basic attitudes is exposed in depth by means of vivisection, suitable performance practice.

PALA Performance Art Laboratory
In cooperation with the festival Undisclosed Territory, organized by Melati Suryodarmo, the PALA investigated the structural, performative differences that were not based on the cultural goods, not on the cultural representation of a folk or nation. The 'peculiarities of the everyday', the touching was pointed out. In addition to the ethnographic and anthropological context, there is an interest in exploring connections that present themselves as dynamic, communicative changes and can be described as precultural forces.

Black Market International
The BMI principle. The specifications are radical in their simplicity. The day, place, beginning, and approximate duration are determined by the person who invites. Events of 6–10 hours proved to be structurally helpful, sometimes longer. There were events that filled 24 hours. No other specifications are given. There is no director, no instructions that structure the course of events, no choreography or scores. The encounter is no improvisation either because each time images, sounds and sequences of action emerge that have never been created in this form before, only to disappear all over again. People, objects, space and time coincide in a dialectical image in a profoundly intangible, real place and action in the present. The French philosopher Paul Valéry spoke about a state of being spiritually and mentally moved (in German: "Geistiges Betretensein") in which audience and artists find themselves attuned to one another – what a wonderful encounter.

 

Photos

Photo 1 "Give back what colonial violence has stolen"
              Borobodur, Indonesia
              Photo ©Melati Suryodarmo 2009
Photo 2 "Koan, Daily Life Plot"
                 Performance Art Lab "PALA", Indonesia
                 Photo ©Melati Suryidarmo 2008
Photo 3 "Koan, Daily Life Plot" Stone
              Film-Project "MA", Dachstein / Austria
              Photo ©Getrals Harringer 2003
Photo 4 "Performance Archiv – Black Kit"
              Cologne / D
              Photo ©Pattree Chimnok, 2018
Photo 5  "Nature_Study (transportation of stones)"
                 in Festival "Friction", Uppsala/SWE
                 Photo ©Gunnar H Stening 2010
Photo 6 "Koan, Daily Life ÜPlot" stone
              1. Biennale Thessaloniki / GRC
              Photo ©Chengyao He
Photo 7  "Landvermessen - Detail"
              Project "Landvermessen", Luzern
                 Photographer unknown, 2010
Photo 8  "A feather fell on Hongkong" (MA, Version XXXV) with Siu Lan Ko
                 in Festival "DaDao", Hongkong,
               Photo ©Jesse clockworg, 2007 
Photo 9  "Koan Daily Life Plot" five Performances in  five days,
                in the project "Starres Gesicht und Wacher Geist" (Rigid mind and alert spirit)",
                 organized by "Hasena" Peter Trachsel, Dalvazza/CH
                  Photo ©Mariet Kobald 
Photo 10 "Table-Man" walking with Table from Atlantic seaside to the border of Germany
                project :"Sideways"in Tournhot/Belgium
                Photo ©Kata Bodoki-halmen, 2012
Photo 11  "Koan, Daily Life Plot"
                project "Art of Encounter 7", Cologne
                Photo ©Jörn Vanselow, 2018