where — 15 Spokojna Street
Two rows of rooms, garages empty on an everyday basis, and a group of people who decided to bring life into them. Two, facing each other. Both intended for creative activities. One for those of a visual nature, the other for those more elaborate in form and involving different media. All these luk-arty were intended for creators on this one specific day. An intermedia dialogue took place between music, theatre, performance, painting, installation-sculpture, graphic art and the word. The creators chose the subjects and forms.
For now, only two of the several events that took place then will be posted here in the form of documentation:
Oskar Chmioła: PERFORMANCE — LABIRATORIUM (performance as an illustration of a text)
Allow me to excavate a certain labyrinth.
A peculiar labyrinth, for it is as close as a smile and a tear.
Theseus, listen!
Within it you are the spark of its course and the direction of all the arms that form it.
You think it within yourself, as one thinks one’s own sensitivity.
Every step here is a word expressing the weather prevailing in its hidden interiors.
Steps are therefore the drive of an enormous turbine moving the machinery of this vehicle.
Much can be said about this place, but all of it is said by you.
You tread on the ground of the transmission, dictating the climate in the room where the Moirai spin your rhythm.
Watch the paving, for the entire history of your journey is written upon it.
Perhaps it is precisely now that you stand in the doorway of this space, the destination of your every movement.
And if you wanted to stop or turn back, do not forget that all this never stops writing itself, and the place you occupy is a sound giving you oxygen.
Our deeds are walking across the typewriter of consciousness.
At every moment you sit, stand, lie down, or on some letter do something that moves it as the leaves of trees move in the wind.
They whisper to the trunk about how to grow, and it unfailingly listens to their voice.
If the future does not fall upon you like rain, you will find an alley in the labyrinth.
In this alley there is a moment when you already know that it is the one. Use it, for it tells you what falsehood brings it into being along the way.
Where there is no end, there is always some beginning.
There is more thread than Ariadne could walk along, which is why she is only an angel.
Yet it is right, Theseus, that she has the essential threads. But they lead you into the depths, where the bottom meets darkness.
Here, in the mirror, you come to know the Minotaur, a guardian whom you can attentively steer.
He is a means of transport into the depths of understanding between you and the walls that are not there.
These letters, over which you walk at first as though you did not see them, are now substance again.
Every sign has its meaning where meaning is not a sign, but only pure intention.
Eventually you see all of this and this entire labyrinth as one of many upon one another, and transcend their logical dimension, finding cracks in the density of their shape.
Now, at last, it is a labyrinth only for the boundaries between moments.
At last it disperses for the words that are the key to this.
PERFORMANCE — MAGNETYCZNA SYNCHRONIA (MAGNETIC SYNCHRONY)
The decomposition of the dramatic text Elektra (both Sophocles’ and Euripides’) allowed two artists to touch the mystery of synchronising the playwright’s intention with the intentions of the actor who brings the drama to life. In this performance, the author, the narrator, arranged lines of the drama torn from their context, written on small pieces of paper, into something like a labyrinth. The actress bringing the entire work to life (Adrianna Janowska) embodied the narrator’s multidimensionality lodged in the characters of his work. This was expressed through the journey the actress made through the labyrinth, which the writer in turn created in real time from the words that the actress, having read them with intonation and embodied them, threw behind her. The author collected these texts and added them to the ends of successive corridors through which the artist wandered. Both tried to hear each other: the author gave signs, laying down the texts in an intuitive order inspired by the wish to meet someone who, by understanding his text, would understand him himself, while the actress, searching for a way out, achieved this unity with every step, entering the “between” of the words and there becoming familiar with the fullness of dramatic experience. In this way the playwright and the actress eventually met and united in a creative dance.
Slides from the film documenting this performance:
A discussion and documentation of the other “Luk-arty” events will appear soon.
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