Light from the Old Stars
The performance investigates contemporary notions of innocence and masochism, facial patterns in image-war, codes of horror, and regimes of visuality in a polite political setting. Light from the Old Stars as a political meditation on aesthetic reverence is made of over-layering of speech, live electronic/acoustic sound manipulation, and computer animation video that renders two virtual planes colliding on one another with a bright light of a laser-pointer (installed on stage) aiming at their axis of rotation.
The video and laser as a light-installation is an auto-generating hypnotic coordinating machine composed of cartographic patterns and abstract digital textures, a technical composition that invokes the work of an immaterial. The performance in an endeavour to create a local image-theory for itself, goes all over the place to perform a disavowal of representational language over the notion of the face. The face—subject to endless technologies of recognition, philosophy of the Other, site of beating and violence, loci of love, seminal of POV-based communication—is one visual frontier of alterity and fetish. Common sense (or rather common cold,) rooted in cheerful/fearful fantasies conditions the encountering of the strange and alien face that comes to you from uninvestigated addresses. Anything that I ask the stranger will arrest the rest of our movements. The first question in the face of the stranger, partially sunken in the consciousness, establishes the climate of subjectivity in interrogation.