sub fiction - Performance
In the draft we read: „In science fiction, as its most important methodical aid, is an assumption which is accompanied by the knowledge of its falseness, but which nevertheless may lead to perfectly correct results.”
The draft reads further:
„sub fiction is a useful expression for developments beyond the former term fiction. It is more likely, that its conceptual proximity to smaller and sub-cultural groups, interests and happenings relate more closely to the factual phenomena, with which these „fictions” are intended to define contextual differences.”
Being a curator and person, who includes performances in cultural situations, I am confronted with a worrying task of how to bring things across which is an omnipresent problem with basically consisting of many sub-problems a generic name: mediation.
Mediation being a doctrine within teaching applies systems to phenomena, forms of human communication in its widest sense, which, when stretched to fictional demands, already suggest what is to be NEW (or the like); by relying on classically-allegorical (merely didactic), anagogical (what are we aiming for), tropological (moral demands) or materialistic (aesthetical condition) senses of form and writing.
In his „Alchemistic Theatre” Antonin Artaud wrote: „And that
principles surface like dolphins from the water, in order to show themselve and then dive back into the depth.”
But what is meant by: „ … accompanied by the knowledge of its falseness …” in the above sentence?
When I, as happens to me quite often, experience a one-man performance within an art-performance, I see concepts of the world, principles, which after having come up from the bottom of a person’s depth, in order to be shown, return to where they have come from, immediately, undetermined lacking any interpretation, as it is pure sense.
A narrowing definition, the application of a communication system – outside accompanying and translating descriptions of the visible – is a wrong but common intrusion in the show.
Where is the difference between mediation (demand per definition on what has to happen, what is part of it and what isn’t) and the show releasing its own sense itself?
May fiction be the organisation of possiblities of appearance (the art of basic conditions), instead of being in the state of anticipation for the things (pieces) to appear?
Or is fiction supposed to only be, if any kind of mediation is absent, the unexpected, the absolute. At least the irreconcilability of this problem isn’t fiction, it is a lifetime.
Being a curator is basically a strange condition (I first typed: addition, hmm …)
What was a possible idea, leading to the choice of sub fiction artists? Let me add a fragment: Euphoria, which I call body-soul-rift. Man is body and soul. He has to put up with the difficult task to live this dualism. Having an image and being able to make a picture of himself, a deep rift has developed in his identity. Performance art is where this split shows as horror. In case of the use of speech, it describes the embarrassing, the infamous. In case of non verbal action, only the simple present is sufficent in itself.
What has been a basic condition for the artists choice (already modified by indisposition, or personal reasons, etc.)? Freedom can also be restricting and the idea of the dream-team is a one-way lane. Principles, those dolphins, appearing and then vanishing in the performers’ bottomless pits, nevertheless present somehow (with some artists I have been experiencing this – coming into sight and fading – for many years and I am still fascinated and curious, like the first time), the repeated feeling, as if it had been the first time, also when meeting them now, maybe that is sub fiction? But maybe sub fiction is George Brecht’s wonderful sentence: If you would like to learn, do spend your time with someone, who knows something.
Having guests – being a guest.