The Mystical
Disappearance
Introduction in the History of the Disculture
Or I dreamt one night a dream that there were some bears, a father-bear, a mother-bear with two little bears and they had been made their home beneath a car, on the street. I've also seen a dog beside my block, a red one who made the same. And I don't know what was about those bears, but they seemed to be trustworthy and I entered their den. In the actual context the post-industrial society operates extremely important mutations and the informatic crisis operates absurdities accurately reflected by the chats on the Internet All these things determine us to introduce a new concept, that of disculture . References to disculture had already been made . There are even historical records, the disculture not being a phenomenon appeared in this moment or belonging exclusively to the post-informational society. 40 000 years ago a prefigurative period existed (the niusterian period) or in the III rd century BC China when, soon after the achievement of the apogee in the classic poetry, the experimentalism started. We don't insist on this historical reconsideration. It's not the case for us to do this. In our case we can only give us as an example. For having dissociated personalities we can not distinguish it anymore from the immediate reality. Whom? Why? Prophet reaffirms the fact that in the reconstruction of the humans as cyborgs their bodies remain the bases and they preserve the suffering and feeling-pain abilities. The body is no longer a functional complex medically defined but field of forces, which is not limited to what the Western medicine describes as organic. The body's organs are not functional biologic apparatus but temporal condensations, energetically fluctuations that auto-transform constantly; they can not be objectified as continuos corporeal elements. It is about a heterogeneous inform field, fractal maybe, where temporal limited events take place. This approach could have connections with the European antigrammatical tradition that links the "empty body" of Bataille and the "non-organs body" of Artaud with the "intensities body" of Deleuze and Guattari. The development of the computer technology could represent in this sense an opportunity for questioning the European corporeal logic, the speculative and creative applications of the computer permitting the opening of an imaginative space for the body's re conceptualisation. The nanotechnology could represent the potentiality for inventing hypothetical heterogeneous organs that would develop alternative cultural models, operational for the body. I read in this regard in Dilema something written by Andrei Codrescu who heard too, I don't remember where, that the body's organs are some kind of separated entities arrived from different planets and they stay together and we don't know that. And what's gravely is we don't know either when they'll separate for leaving on the planets they originally came. Aliens I mean. The post-industrialised society supposes cohabitation between the postindustrial society and a secret alien's society, allowing us to speak in matter of social phenomenon about a disocial phenomenon. The critic on the human ontological hegemony has not on its base the historical or philosophical reflections but it is a consequence of the human research and creativity. The liminal experience leads to the subjectivisation mechanism, a sort of taking knowledge of itself, attribute (and I avoid to say more) of Humans.
Premises of the Mystical Disappearance
I don't like Russians. But I did like at a moment a project that had in view the lives of ten loosers. And it was not about a special concourse of events. These losers were merely flops for whom never a chance was predicted . It was a project undertaken by Ylia Kabakov that referred to what happens with the art that doesn't enter the museums, that does enter the museum, but those museums are situated in a wrong geopolitical context; that is not registered or does not enter into some financial or social system, a determined, safety one. I think, I don't remember very well, Ylia's critic mentioned all these problems and he was wondering where do the things, the works and the artists disappear. He said something about an almost mystic, total disappearance and then he was changed rapidly the subject talking about another topic he considered as being more interesting.
The Mystic Disappearance
Where
disappears the not recorded artists? How many artists did disappear in this
manner? Does it matter anymore? I'm scared about the difference between categories
that doesn't exist anymore, which disappeared . What are the categories of artists?
Who are these artists anyway? Conceptualists? Performers? Videasts? Old-new-mediasts?
New-new-mediasts? Painters? Sculptures? Drawers? Architects? Neo-expressionists?
Post-conceptualists? Theoreticians? What is the difference between the corpse
of a person who never smoked and that of a person who did? The not-smoker's
corpse is healthier than that of the smoker's . The problem is where disappear
those persons? Which is the disappearance process? What does he do? The Artist?
Why was Ylia preoccupied for a while about something that concerned the mystic
disappearance? Who gave up later when he was assimilated? This is a wide territory.
The state of mystic disappearance. There always existed artists stationed in
this territory. A territory of mystic predisappearance (in fact) where the artists
gifted for study are studying, influencing, determining the state of mystical
disappearance. Their study has finality (or two finalities?). Or, first, they
mystically disappear. Or, bi, they are assimilated to the major territory of
contemporary art.
Ceaselessly, for ages, the artists practised the state of mystical disappearance.
Why nobody talked about this so far? In the territory of mystical predisappearance
they were in state of elevated consciousness, they were too high-stoned and
preoccupied and when they recovered they forgot everything. Or they mystically
disappeared for good. What do the artists feel when they mystically disappear?
Nothing. Wasn't anybody who returned from there? No, there wasn't. No, they
feel a complexity of feelings. Bad ones. Mona asked how do we know? 'Cause they
could have good feelings. I don't like "bad". How do we know that?
Raluca says too that we are cynical. That this is why we don't understand. We
don't insist. Anyway, the mystical disappearance has nothing in common with
the underground , with the mystical, with the disappearance . However, apropos
of disappearance, if around 50 species of animals are disappearing everyday,
and those who mystically disappear, being in a proportional connection with
the growing tendency of human population, have also a growing tendency, we can
conclude that in matter of mystical disappearance, this one incline towards
infinite.
The last chapter
That Romanian art manifests the symptoms of mystical disappearance. And that's extraordinary. That the art of minor cultures disappears mystically is once again no news. That from the mystical disappearance perspective the art of major cultures has the same fate as that of the minor cultures, it's normal. And when you realise that disappearance seems to be a problem of meaning there is no difference anymore.
A photo
documentation with artists mystically disappeared or artists in the process
of mystical disappearance. The public can consult this "archive".
Coordinator Mona Vatamanu.
text by Florin Tudor,Nicolae Comanescu, Raluca Velisar, Mona Vatamanu