‘What! Art thou, like the adder, waxen deaf? Be poisonous too and kill thy forlorn queen.’
The artwork draws from the ambiguous monologue by Queen Margaret in Shakespeare’s Henry VI (Second Act, Scene III) to disclose the latent nature of an animated object that dances like a spirit or a ghost in a Baroque room. According to the artist, this striking monologue reveals the suppressed meanings and the convulsive secrets of the object of art that personifies the history of art as well as our past and memories in the everlasting layers of wax.
As part of the big ongoing research over jan Kott and its legacy this new parallel theatrical experiment in performative form, is wondering about Which is the past of the art though, that now is venarated? Isnt a work of todays artists to reveal the secrets of the past of an artwork? And how often we, artists, are having compromise with this past.
Did we face it like a conceptual condition, formulating a dialogue with it? Juxtaposing Time as the catalyst of the identity of the history of Art?
The Past and the Poison in Art as an instrument and the way we perceive Poisonous Past of an artwork. If this is injected to a theatrical play of a live art Performance or music piece.
But what really involve artists to deal with the past? How theatre and performance linked to live art, responds to that. How many forms of these practices are still ongoing?
“Art can be poisonous form its own past?”