The base of the scenography is a sterile and impeccable clean “white cube”. Mostly in cultural context „white cube” exist as a natural space in gallery. In our case I want to sublime its clinical and sterility essence. The pursuit of perfection become fanatical. This effect is even more emphasized by giving the elements of the scenography a drawing character. Family dinner during which they serve the most ridiculous and terrifying of Hitler’s theses takes place at a cardboard, drawn table, glasses and candles. The world of pop-up drawings get its complete form in the second part of the performance which refers to a social opera. Actors wear scaled-up paper masks with caricatures of contemporary politicians, drawn elements of propaganda pop out of the sterile white walls. With accompaniment of Wagner’s music and opera singing.
In the last part of the performance, raising the topic of bio-politics, I created costumes referring to Stanislaw Szukalski’s drawings of the idea of the yeti sons (a concept that indicate the root of evil in the fact of origin of some individuals directly from Yeti monsters). The degenerate human forms that appear in the third part of the performance with supernatural genitals and tails are destined for one single purpose: procreation. Our goal was to achieve the effect of disgust and aversion towards bio-political strategies used on society.
In the final scene, a gigantic inverted pyramid descends dangerously close to the stage. A disgusting black slime emerges from the its cusp. By building this symbolic image, I wanted to refer to the idea of art, especially architecture, which aims to express and dominate the political message. Impose the law and crush those who try to oppose it. Every dictatorship and every political or religious system over the centuries has invented a particular visual system of signs, shapes and forms. This visual identity becomes a symbol and at the same time a relic for its followers and opponents. This aspect was especially interesting for me. However, I did not want to refer directly to any specific sign, e.g. to swastika. The inverted pyramid is a symbol of architecture understood as an attempt to capture symbolism and tame it in the name of specific political demands.
In the last part of the performance, raising the topic of bio-politics, I created costumes referring to Stanislaw Szukalski’s drawings of the idea of the yeti sons (a concept that indicate the root of evil in the fact of origin of some individuals directly from Yeti monsters). The degenerate human forms that appear in the third part of the performance with supernatural genitals and tails are destined for one single purpose: procreation. Our goal was to achieve the effect of disgust and aversion towards bio-political strategies used on society.
In the final scene, a gigantic inverted pyramid descends dangerously close to the stage. A disgusting black slime emerges from the its cusp. By building this symbolic image, I wanted to refer to the idea of art, especially architecture, which aims to express and dominate the political message. Impose the law and crush those who try to oppose it. Every dictatorship and every political or religious system over the centuries has invented a particular visual system of signs, shapes and forms. This visual identity becomes a symbol and at the same time a relic for its followers and opponents. This aspect was especially interesting for me. However, I did not want to refer directly to any specific sign, e.g. to swastika. The inverted pyramid is a symbol of architecture understood as an attempt to capture symbolism and tame it in the name of specific political demands.
