Memory

by Andrej Medved

Sluga’s Memory returns to childhood, to the past… it recalls (Er-innerung as internalisation): thus assigning priority to “eros” as libido, which is “an organ of immortal life”. Or, according to Sigmund Freud: “Libido can again be used to denote the manifestations of the power of Eros in contradistinction to the energy of the death instinct.” (Civilisation and Its Discontents). Thereby, what reigns in Ana’s pictures is the exultation and triumph of vital force against the darkness of nothingness, departing, absence and death… A triumph of vital force and creativity in – through – the internalisation of memory… The victory of childhood, the time of being a child, over the transience of growing up in the future, in the present avant-future, in the unfamiliar “point zero”. The shelter of the soul – a child’s soul under a veil of the hidden, unpredictable and remembered present and of roving in deep duskiness…

Wherefrom stems the originality of a work of art, that is to say, the poiesis as creation, originality of creativity, the idiosyncrasy of an artwork that is associated with spaces, those interior, intimate, coincidental, and fatal for every artwork? Are they determined only by culture, civilisation, politics, society, anthropology? Is it “genetic engineering” – the abstract machines of birth-extraction, a hereditary trait of the creator, the “privacy” of childhood related to a certain place, environment, region, nature – that takes effect /here/? Is the universality, cosmicality, planetariness of their inscription therefore the result, the consequence of “local”, that is to say, regional, or personal poetic experience? A painter caught in what we have termed genius loci? What is evidently foregrounded and prominent, fundamental, is the painter’s aesthetic experience that turns the regionality of personal childhood experiences into a general situation, into the truth, in other words, into form and inscription of a general, universal, distinguishing and personal language. The community spirit, spirituality, the soul /spirit and ésprit/, which is burning in a local sentiment or, more precisely, which is intricately linked to a regional sensation, sensitivity and feeling; according The Logic of Sensation by Deleuze. That is to say: regionality as an ethical, aesthetic, psychological, political/social universe?

What is a comparison, what is comparable? The comprehension and truth of a place, time, historical moment, associated with childhood, the experience of first, formative experiences of the world? Is the assertion, on which we placed our bet at the very beginning, nevertheless justified: namely that the particularity of place-and-space and the unique “intimacy” in which a work of art is taking shape is actually of crucial importance? Genetic/geographic machine, machine abstrait, in a way indefinite, indefinable by psychology or anthropological and social sciences; indeterminable solely by the logic of philosophy, aesthetics or personal methods; indeterminable by scientific or “occult” knowledge, but nevertheless a criterion for originality, creativity, universality of a work of art.

The answer is “slipping” ‹now›, slipping-from-hands, “derailing” and “turning” – towards the raised issues. The answer lies in the ambivalence of human soul – pneuma, which by touching-the-body “cries” for die Liebe that is actually Lacan’s lamella. It “slides through” like amoeba and survives division, any intervention and is related “to what the sexed being loses in sexuality, it is, like the amoeba in relation to sexed beings, immortal”; an immortal essence that is to resolve, “untie” or cut the metaphysical and physiological “linguistic knot”. The language ‹la langue –langage› of body, soul and consciousness: philosophy, science, art – and of a work and/as play that by concealing discloses the essence of our history ‹Geschichte as Geschick›: the truth of Being – existence – as “a semblance of being” as ‹le semblant inexistante de l'être›...

MEMORY
Andrej Medved

Slugin Memory se vrača v otroštvo, v preteklost … spominja se (Er-innerung kot ponotranjenje): s tem daje prednost »erosu« kot libidu, ki je »organ nesmrtnega življenja«. Ali, kot pravi Sigmund Freud: »Libido lahko zopet uporabimo za izraze sile Erosa, da bi jih ločili od energije nagona smrti« (Nelagodje v kulturi). Torej v Aninih podoba vlada zmagoslavje in triumf življenjske sile nad temo ničnosti, odhajanja, odsotnosti in smrti … Triumf življenjske sle in ustvarjalnosti v – skozi – ponotranjenost spomina … Zmaga otroštva, otroške dobe nad minljivostjo odraščanja v bodočnosti, v sedanji predprihodnosti, v »ničti točki«, ki je ne poznamo. Zavetje duše – otroške duše pod kopreno skrite, nepredvidljive in odspominjane sedanjosti in tavanja v gostem mraku …

V čem je izvirnost umetniškega dela, se pravi poiesisa kot snovanja, izvirnost ustvarjalnosti, posebnost umetnine, ki je povezana s prostori, notránjimi, intimnimi, naključnimi, usodnimi za vsakokratno delo? So pogojeni le kulturno in civilizacijsko, politično, socialno, antropološko? Deluje /tu/ »genetski inženiring«, abstraktni stroji zarojenosti, dedna osnova ustvarjalca, "zasebnosti”– otroštva, ki je /za/vezan na določen kraj, okolje, regijo, naravo? Univerzalnost, kozmičnost in planetarnost njihove pisave je torej rezultat, posledica »lokalne«, se pravi regionalne, osebne pesniške izkušnje? Slikar, ujet v to, kar imenujemo z izrazom genius loci? Slikarjeva estetska skušnja, ki regionalnost osebnih skušenj v otroštvu spremeni v splošno stanje, v resnico, se pravi formo in pisavo neke splošne, univerzalne, prepoznavne in osebne govorice, je tu očitno v ospredju in izpostavljena, fundamentalna. Krajevni duh, duhovnost, duša /spirit in ésprit/, ki izgoreva v lokalnem sentimentu oziroma, natančneje, je zvezana z regionalnim čutenjem, občutenjem in čustvom v smislu izraza »sensation«; Deleuze v Logiki občutja. Se pravi: regionalnost kot etični, estetski, psihološki, politično-socialni univerzum?

V čem je primera, kaj je primerljivo? Spoznanja in resnice kraja, časa, zgodovinskega trenutka, ki je vezan na otroško dobo, na skušnjo prvih, odločilnih skušanj s svetom? Ali pa vendarle velja trditev, na katero stavimo že od začetka: namreč, da je posebnost kraja-in-prostora in svojstvena "intima", ki v njej nastaja umetnina, v resnici odločilnega pomena? Genetsko-geografski stroj, machine abstrait, po svoje nedoločen, neujemljív s psihologijo ali z antropološko in socialno znanostjo; nedoločljiv zgolj z logiko filozofije, estetike ali osebnostnih pristopov; nedoločljiv z znanstvenim ali »okultnim« znanjem, a vendarle merilo za izvirnost, ustvarjalnost, univerzalnost umetnine.


Odgovor ‹zdaj› »spolzi«, polzi-iz-rok, »iztirja« in se »obrača« – proti zastavljenim vprašanjem. Odgovor je v ambivalentnosti človeške duše – pneume, ki z dotiki-na-telesu »kliče« po die Liebe ‹ki je v resnici Lacanova lamela, ki kot ameba »zleze skoz« ter preživi sleherno delitev, prav vsak delitveni poseg in je v zvezi »s tistim, kar spolno bitje izgubi v spolnosti, a je – kakor ameba v odnosu do spolnih bitij – nekaj nesmrtnega«›, ki naj razreši, »razvozla« ali preseka metafizični in fiziološki »jezikovni vozel«. Jezik ‹la langue –langage› telesa, duše in zavesti: filozofije, znanosti, umetnosti – in dela in/kot igre, ki skrivajoč razkriva bistvo naše zgodovine ‹Geschichte kot Geschick›: resnico Bitja – eksistence – kot »dozdevka biti« ‹kot le semblant inexistante de l'être›...