| Now I think, I know, why beautiful things are difficult
Теперь я думаю, я знаю, почему красивые вещи это трудно
Live performance event | Yekaterinburg , 2013
“Now I think, I know, why beautiful things are difficult” is a series of 4 performances, which deals with existential experience and profound feelings. Every performance focuses on particular theme: emptiness, memory, expectation, balance - and talks about interaction of inner world of the human being with outer world represented in concrete objects. I was one of these objects which tried to refer to the very personal sentiments, mine and everyone`s, I was inside and outside, being an acting subject and author who created it. Each performance is a ritual which connects artistic image of the given experience and individual memories of spectator. For this purpose I created artistic performances which have as a result a kind of instant installations, avoiding more common for my city theatrical, dance or based on contact improvisation performances.
In my first performance, called “Work for the deletion of the emptiness”, I am trying to share with spectators my feeling of loneliness, filling my private space, limited by scotch line, with pumpkin seeds. As a result of my action I had filled a third part of my imaginary private space (approximately 2x2 sq.m), a duration of the performance was about 8 hours. During all the performance spectators were coming in and out, staying for empathize so long as they could - more people were in the room, more force to continue i had. The end of the performance was provoked by administrative reasons.
“Memories are bullets” is the name of the second performance of this series. Acting objects of the piece were mirror (size 1,6x2,3m), unused bullets brought from battlefield and me. I put bullets on my palms, stood atiptoe, raised my hands, closed my eyes and began moving from the beginning of the mirror up to the end. Because of closed eyes my way wasn't straight at all - it reminded a confusional dance. It was finalized when one of the arms couldn't afford any more. The duration of second piece is 76 minutes.
“As long as suspense could persist” - the third performance - contained me as an acting subject, rope (30m long), flowers and my breath sound. I began with smooth, regular breathing then I changed it by broken one - because I was winding me round with a rope, binding flowers to me round by round. When the rope was exhausted I took its end and hold it trying to stay like this as long as I could stand. As soon as I felt that I could`t more I began to free myself from the rope (one of the spectators helped me by her will), once free I was lying and catching my breath again, listening its sound, transmitted through an acoustic system - it turned out that it sounds like evening sea. Duration - about 2 hours.
The last part - “Lightness, hardness, what`s better?” It was a story about inner and outer balance. I used a ladder and a kind of wood board (for the balance construction). From the left I put a white wing of the swoon and from the right - a stone. I was balancing hanged on the board, waiting for the limit of my patience - it tooked 70 minutes.