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• Afanisi


Performance - April 15, 1978, 19.30, Contemporary Art Gallery Centrosei Bari


the feeling of deceits
for fantasies and desires to be checked
yesterday as today
my coupling with the devil
on earth hypothesis of morals I have already said God
but I am too tired and bothered by my tasks
now there is no one left
I have loved you
many times
without ever finding myself scattered to the air
my body function of my identity
belongs to me just like so many other things
all invented
so that I can be
so much time has passed and everything to be sure must have
a meaning of its own
in the violence with which it captures in the air every desire
So why then have you never loved me?
Myself out of meaning yet incapable in my not having meaning
while I play myself in the chosen scene
in the magic circle
paranoia represented
guarantee that allows each one to arrange
her own unconscious
it doesn't depend on merit...

from the Afanisi text


Memoria antica nello schema svolgente l’unità del tre.
Impalcatura usata dal cristianesimo priva dell’antitesi del Due, gerarchizzazione dell’Unità Trinaria dell’Omeusi divina. Trasfigurazione culturale? Archetipo, preistoria, umano assetto di ordinamenti sociali? Uomo, donna, verso loro un percorso, un gesto, il fare di prescrizioni? Rituali garanzie sociali?
Edipo rinnova la tautologia cristiana, onnipotenza divina, mancanza, assenza, senso di colpa, castrazione…
La noia di un inconscio privato e non da utilizzare seguendo le indicazioni.
E allora? come sapersi fuori gioco?
Decorare lentamente il viso, seguendo il gesto della propria mano che, ricorda Valery: “è l’organo del possibile”.
Quale possibile? Quale percorso risarcisce dalla violenza del proibito? Decorarsi, per rimuovere la maschera, nel silenzio che apre il cammino

Description of the performance:
At the apex of a path marked by a line which forms the shape of a triangle, stand a woman, a man and the artist. The path of the artist, marked by a metronome beating in time to her recorded voice (text attached), leads first to the woman, then to the man, where the same route is retraced in reverse. Finally, the artist sits down and begins to decorate her own face.

Afanisi expresses the uneasiness with Freudian psychoanalysis and its interpretation of female sexuality that, seen within the context of the male interpretation, is deprived of its singularity. The path taken is intended as a symbolic suspension of the "compliant" and an openness of the existence to the "feasible" experience.