THE POWER OF POWERLESSNESS
A resilient body as flexible, durable, and capable of springing back to its original form and transforming the energy received into its own reconstruction. U3, 7th Triennial of Contemporary Art in Slovenia.
“In recent years the concept of resilience has grown out of the global trend of developing sustainability in the societies of the global North. In natural sciences or physics, a resilient body is described as flexible, durable, and capable of springing back to its original form and transforming the energy received into its own reconstruction (a good example of this is the sponge). In psychology, resilience refers to the subject’s ability to recover their original state relatively quickly after some significant stress or shock and continuing with the processes of self-realization without a major setback. Resilience is more than just the ability to adapt, promoted by the concept of the flexible subject over the past two decades, which was adopted by corporate capitalism and triggered the precarious mass movement of laborers. Resilience encompasses exploring reciprocal dependence and finding one’s political and socio-ecological place in a world that is out of balance and creates increasingly disadvantageous living conditions. Rather than trying to find global solutions for some indefinite future or projecting a possible perfect balance, resilient thinking focuses on the diversity of practical solutions for the here and now, and on the cooperation and creativity of everyone involved in a community or society.” (Nataša Petrešin-Bachelez, an excerpt from the editorial in the Triennial).
We live in a time of boundless choice, of boundless opportunities and boundless freedom to realize our potential. But today, all this potentiality appears to be radically impotent. Although driven by a strong desire to make use of the opportunities to realize our subjectivity we always end up getting just another form of control. Also the radicalness of performance art seems to have become caught in this dispositif. Nothing is gained with the performative act any longer; it no longer has any emancipatory or other potential. Performance art has become a form of radical impotence. (Via Negativa, excerpted from: Bojana Kunst,Powerlessness of radical consumption)
Curator: Nataša Petrešin-Bachelez
Performers: Tomaž Grom, Loup Abramovici, Kristian Al Droubi, Nataša Petrešin-Bachelez, Barbara Kukovec
Technical director: Tomaž Kučer, Igor Remeta
Producer: Špela Trošt
Produced by Via Negativa in collaboration with MSUM, with the support of Ministry of Culture of RS and the City of Ljubljana
Venue and date: MSUM Museum of Contemporary Art Metelkova, The Old Power Station Ljubljana, 11 September 2013, in the frame of U3, 7th Triennial of Contemporary Art in Slovenia