About this exposition
Sílvia Pereira | Independent artist-researcher
Day 1, 9 November, De Bijloke Bibliotheek, 15:30-16:00 and on view
“OMNIADVERSUS Self-Actualising the Subject,” or “O,” is a theoretical, visual, and performative art research project that has been developed since 2010. It is an ongoing piece that undertakes artistic research on post-identity through heteronomy, the formation of artistic subjecthoods, the interdependence between subject and object as artistic values in non-art approaches. O proposes a revision of the question of authorship through a conceptual and immersive practice and inquires about the functionalities of the self in art politics.
O is a rhizosphere-like platform that revives concepts that are put to an experimental performative practice. It explores these concepts to an empiric extent, setting its research to analyse and develop knowledge over the aftermaths of such experiences. Its formulation has been influenced by ubiquitous concepts in philosophy and in critical theory and by a subsistential affinity encountered with Mille Plateaux. These are undertaken as playful elements for research, with ultimate considerations in self-overcoming, becoming-other, metamorphosis of the being, schizoanalysis and schizophrenic practices, the existential nomadic, multiplicity, and impersonality.
O’s practice happens through an immersive performance with existential contours, consisting of launching several artist-personae, or immersive heteronyms, that develop distinct lines of investigation resulting in individual bodies of work, by inducing the manifestation of agencements, practising deterritorialisation, and evolving through becoming-other.
The heteronyms, are integrated in particular cultural and social backgrounds and interact in specific circuits, describing their existence as living personae. Evolving in an autonomous way and independent of one another, they create different artistic approaches, as by-product multiplicities surging within the context of immersion. Promoting insights into the overcoming of the self through multiple-subject approaches, O aims to cast the self as the art piece, ungraspable, within several prisms and cultural influences. This is in accordance with the identity forming process of subjectivation, which the heteronyms relate to in the field of visual and performing arts.
These heteronyms are impersonated by a sole person who temporarily disengages from using her official, familiar identity and sets off on a post-identity journey, immersing herself in a field of action with other identity attributes (such as name, origin, generation, gender), allowing these to become tinted by the circumstantial contact in the cultural-social environment they are immersed in. This self-approved allowance for frequent identity shifting according to an external leverage strives to recreate and actualise the concept of identity as an ever-changing interfacial embedding of the self, as a medium for self-overcoming, beyond arborescent compliances.
The launching of the heteronyms’ personalities allows for observations about the formation of identity in a bid to transgress its own officialised restrictions.
O enables practices toward an ultimate merging of subject and object, as a formula for retrieving significance ahead of dualism, impoverishing the fields of stage/wall representation.
O encourages processes of becoming, immanence acts as the subject emerges as an artistic object in unexpected existential formats, as in life itself, sustaining non-art statements.
It conceives trajectories of life as the artistic object per se, living-as-form, with their inevitable processes of deconstruction/reconstruction unveiling the possibility of “being-zero” as an excellent source of the art medium.
The authorship of OMNIADVERSUS is deliberately presented sous rature due to the reasons explained above which defend the impersonality of the author; thus it should always be presented in this way.
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