premiere: 23,24,25./ 04.
2002, Cankarjev dom, dvorana Duše Počkaj
Mateja Bučar, stage: Vadim Fishkin , sound:Peter
Cerone, Stefano Scarani,
Project is supported by: Ministry of Culture RS, MO Ljubljana
and OSI - Slovenia
|"…Through her timeless performances
Mateja Bucar introduces a new relation towards body and movement.
This again unique poetic is here shown in a new and very focused aesthetic
frame of 30 minutes long performance O QUADRAT that simply invites
to be seen and also to be given a firm perhaps philosophical analysis
of the authors concepts... "
Renata Salecl. Eva and Ana - Sublimation2
Bodybuilder and dancer both master their own bodies with incredible discipline
and dedication. But why do they submit their bodies to rigorous training?
And do they have similar ideals in regard to what they want to achieve
when transforming their bodies?
In the performance, Eva, the bodybuilder, proudly flexes her muscles and
in different postures radically transforms the shape of her body. At some
moments, her body appears like a superhuman, immensely powerful and almost
horrifying figure, while at other moments she seems to be expressing a
sublime beauty of a perfectly sculptured body. However, in this process
of flexing her muscles, Eva is constantly wrapped in the skirt that, attached
to the wall, does not allow Eva to move in the space. Is this skirt a
feminine constraint that Eva cannot escape even though she has developed
a masculine body? Or, does the fact that Eva cannot escape her skirt show
that her body art does not allow her to go beyond the material constraints?
The dancer, Ana, is also caught into the constraints of her own materiality
– the elastic square that she seems to be trying to escape. When Ana through
her dance flexes her muscles, she tears apart the elastic square, slowly
changing its shape and undermining its structure. But would Ana be able
to obtain some kind of freedom were she finally to escape from the constrains
of the square? When Ana looses the shelter of the square, she circulates
in the space like an object that constantly moves around an empty space.
Even without being tied with elastic, Ana seems to be tied by an inner
constraint that drives her circulation.
Are Eva and Ana so different in the way they work with their bodies and
try to sublimate its materiality? Psychoanalysis takes sublimation as
a satisfaction of drives which does not involve repression. Sublimation
elevates the empty object around which drive circulates to the level of
the sublime Thing. With the help of sublimation, the subject might excel
in an artistic creation and thus win the admiration of the others. However,
in essence, sublimation does not call for admiration, since it is satisfaction
that does not ask anything of anyone. This is why sublimation is a solitary
circulation in which two subjects will not meet and form a unity.
Eva and Ana are both caught in their own circle of drive and thus seem
to be ignorant of each other. But why do both remain tied to a materiality
outside of the body, Eva by not being able to escape her skirt and Ana
by being essentially determined by her square? Psychoanalysis rejects
the fact that body might be governed by some natural instincts. With humans,
instincts become drives which are always already marked by language. There
is for the humans no way out of the constrains of the materiality of language,
which is why complete sublimation of drives is never possible for the
subject. At the end, Eva and Ana can only admire each other’s act from
afar, never being able to fully detach each other from their own constrains
or imitate each other’s art.