Oblivion

It is difficult to explain what is or what Oblivion could be, in just a few sentences. Vantage points of its abstract space are very particular, but on the stage this evolves into idiosyncratic and almost illegible images. Appropriate translator is probably the Unconscious. But at the moment of Conscious(ness), it seems as if the idea begins to lose its own essence. Oblivion is the thin line of (mis)comprehension, it is an associative field, oblivious memory, which operates autonomously. Its time is the moment before something happens. Time, imploded in itself; a transitional stage between informal possibilities and formal realities. In this auditorium, images of conception, evolution, human relationships, carnival sensibility of the world and mythical characters arise. This performance insists on the margins of abstract and associative but leaves the viewer with a free choice. Maybe Oblivion is an ode to life itself, a bow to evolution and human consciousness, even if the latter often is a tainted spot of human kind.
(I. Peternelj)

“Mankind is arrogantly proclaiming itself to be the greatest creation of the universe. But what if the evolution of this super-Being means destruction and artificial co-habitation, supported by technology, which is harmful to itself and others? What if the universe finds our arrogance and self-absorption repulsive? What if the humankind is really a virus, which instead of life craves total annihilation?” (J. Menger)

“Even soft dreams, which during awakening, you, the mystical thief, carry over the threshold, experience hard and sad changes on this side. And while they pour into a soft magma, the real fabric of the soul, there’s always some knot of a memory, which remains behind and keeps it alive – forever it seems – a blurred velvety shadow of a sensitive time, inside of which the images move and wherein lies their reality. I want to return to this flow, I want to be sank in it forever. ” (H. Miller)