Dance Macabre. 2014
The simultaneous division and the multiplication of hypothetic dancers from one in Warhol’s «Diagrams» to two in Dance Macabre, a also the transformation of the traces of the second dancer into the skeleton’s skeleton traces testify to the the exponent of potential readings of the dark, re-forming original models, and the proclamation of «the reign of the non-I, the non-Togo, from which we are distracted.»
Our recognition of «rethinking and rewriting as a history» re-identifies the signs that make up Macabre. The tracking of encrypted dance steps turns the surfaces, by which these signs are inscribed, in the active palempses, by which are printed the traces of motion, combine and multiply the surfaces and surrounding space in the temporal historical performance.
The supposed presence of a corpse here is not only cautions against the dryness of worldly things, but also amblematizes the loss of meaning and links this loss to the way the loss, as an image, transmits the content to the encapsulated viewer. Through Macabre’s corpse, he explores how images convey meaning to the dead and, it would appear, to be a meaningless world, calling us to the thinking about the the relationship between death and knowledge.
Death disproves the autonomous «I» by overturning the Renaissance fiction of a closed and the completed personality formed largely in the the hormone of Roman humanism, and by replacing it with a vision of the dissolution of all physical boundaries. Dance Macabre’s «duplicate performance» includes both Bachtin’s «dual body», and «dual-directed discourse» of a parody.
Macabra calls out of the 'nbsp; the viewer’s memories of other images whose ghost allusions, like skeleton marks, point to our future ghost 'I', deny us 'nbsp'; reflected by the image of themselves, killing memesis. We’re re-opening and we fit into our daily experience «a whole story of sinfall and its consequences.»
