{"id":1523,"date":"2021-01-31T03:05:58","date_gmt":"2021-01-31T02:05:58","guid":{"rendered":"http:\/\/nordaand.dk\/?p=1523"},"modified":"2024-11-27T03:57:38","modified_gmt":"2024-11-27T02:57:38","slug":"kairos","status":"publish","type":"post","link":"http:\/\/nordaand.dk\/?p=1523","title":{"rendered":"Kairos"},"content":{"rendered":"
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\"\"<\/figure>\n<\/div>\n\n\n


Til
A<\/p>\n\n\n\n

* * * * * * * *<\/p>\n\n\n\n

To be a performance artist, you have to hate theatre. Theatre is fake: there is a black box, you pay for a ticket, and you sit in the dark and see somebody playing somebody else’s life. The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real. It’s a very different concept. It’s about true reality. <\/em><\/p>\n\n\n\n

* * * * * * * *<\/p>\n\n\n\n

Ordet <\/em>er gr\u00e6sk – \u03ba\u03b1\u03b9\u03c1\u03cc\u03c2. Det betyder, det rette sted<\/em>, den rette tid, <\/em>alts\u00e5 det afg\u00f8rende \u00f8jeblik<\/em> – og angiver s\u00e5ledes selve sagen. For s\u00e5dan er det: Alting har sin tid og sit sted. Ikke alle operationer kan b\u00e6re frugt til alle tider og overalt. L\u00e6r derfor at tie. Dv\u00e6l i mellemrummene, lur i spr\u00e6kkerne – og spring s\u00e5 frem: <\/p>\n\n\n\n\n\n\n\n

H\u00e6ld ivrigt kviks\u00f8lv i kolben, og forsegl den forsvarligt.<\/em><\/p>\n\n\n\n

Afvent dern\u00e6st dine instrukser fra Verdens egne gensvar; brud & forbindelseslinjer h\u00e9r og d\u00e9r – velvidende, at Vejen kr\u00e6ver alt, f\u00f8rend den giver alt. Kun det, der f\u00f8rst har v\u00e6ret adskilt, kan forenes. <\/p>\n\n\n\n

: : :<\/p>\n\n\n\n

Det indledende citat stammer fra performance-figuren Marina Abramovi\u0107’ mund. Ordene er udtalte i et amerikansk avisinterview fra 2010, hvor New York-museet MoMa – Museum of Modern Art – bev\u00e6rtede installationen The Artist is present<\/em>. Dette v\u00e6rks pr\u00e6mis og udf\u00f8relse var gruopv\u00e6kkende enkel: Marina Abramovi\u0107 var tilstede<\/em>. Hun sad p\u00e5 en stol midt i en stor, hvid \u00e5ben sal. R\u00f8dkl\u00e6dt. Over for hende stod endnu en stol, tilt\u00e6nkt den enkelte; den rette, der turde s\u00e6tte sig. <\/p>\n\n\n\n

Hvad skete s\u00e5? Hun s\u00e5 dem ind i \u00f8jnene. Hun s\u00e5 dem ind i \u00f8jnene lige s\u00e5 l\u00e6nge, som de \u00f8nskede det – og kunne det. Hele dagen. Hun sad der hele dagen, dag efter dag, uge efter uge, og s\u00e5 dem ind i \u00f8jnene. Afklaret, rolig – som et bjerg. I alt 700 timer.<\/p>\n\n\n\n

Og de, der s\u00e5 p\u00e5 hende? For dem var sagen, selvf\u00f8lgelig, aldeles omvendt: De gr\u00e6d & gr\u00e6d, lykkeligt opl\u00f8ste af blikket. Hun s\u00e5 dem<\/em>. De smeltede i m\u00f8det. Det er bevidnet i dokumentarfilmen Marina Abramovi\u0107: The Artist Is Present. <\/em>K\u00f8b den<\/a> – hvis du vil. <\/p>\n\n\n\n

Den virker. Hun virker.<\/p>\n\n\n\n

– – –<\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

– – –<\/p>\n\n\n\n

Derfor hader Marina Abramovi\u0107 teatret: Det er ikke virkeligt<\/em>. Man sidder d\u00e9r og ser p\u00e5 scenen. Fjerne skikkelser. Skuespillere, som tjener deres penge ved ud\u00f8ve andres liv. Hun hader det. Kniven er ikke \u00e6gte. Blodet er ikke \u00e6gte. F\u00f8lelserne er ikke \u00e6gte. <\/p>\n\n\n\n

Forst\u00e5r du?<\/p>\n\n\n\n

Hendes modstykke er performancekunsten<\/em>, hvis dogme er uhyrligt enkelt: Det, du ser, er d\u00e9t, der sker.<\/em> Kniven er \u00e6gte. Blodet er \u00e6gte. V\u00e6skerne er virkelige. it’s about true reality. <\/em><\/p>\n\n\n\n

. . . . . . . . .<\/p>\n\n\n\n

Den samme modstilling g\u00f8r sig g\u00e6ldende overalt, hvor mennesker str\u00e6ber efter andet og mere end ry & l\u00f8n: At skelne er n\u00f8dvendigt. Det kr\u00e6ver agtsomhed. En hv\u00e6sset kniv. <\/p>\n\n\n\n

Der findes mennesker, som forkynder veje, der ikke er Vejen. Det v\u00e9d vi, fordi vi kan se det p\u00e5 dem. Deres adf\u00e6rd afsl\u00f8rer hulheden. De er skuespillere. Slaver uden lyst & \u00e6re. <\/p>\n\n\n\n

De hygger sig med dogmer og teorier, men bl\u00f8der ikke. De knevrer ivrigt op, men intet \u00e6ndrer sig: Blyet opvarmes ikke. Bev\u00e6gelserne udebliver. Forvandlingen afvises som noget overfl\u00f8digt, blytyngden opstables som ideal – af \u00e6ngstelse for omsmeltningen i ilden.<\/p>\n\n\n\n

Forst\u00e5eligt – det g\u00f8r jo ondt, og gasserne er giftige<\/em>. Men der er ingen anden vej for den, der f\u00f8rst har l\u00e6rt at l\u00e6nges – at tragte t\u00f8rstigt efter opklaring. <\/p>\n\n\n\n

Solvitur ambulans<\/em> – det l\u00f8ses g\u00e5ende<\/span>. Vejen vil vandres. <\/p>\n\n\n\n

Glem aldrig dette: Navnet & f\u00e6nomenet er ikke <\/em>identiske. Her kalder <\/em>den store Gudinde sig Freya<\/em> – i andre lande b\u00e6rer Hun selvsikkert andre ansigter. Selvf\u00f8lgelig. Hun er jo ikke idiot.<\/p>\n\n\n\n

Centrum & spektrum – det er ikke mods\u00e6tninger: Det hellige er \u00e9t & mange. Lyset udspaltes lykkeligt i himmelbuens flere farver. S\u00e5dan er sande Guder og Gudinder. De manifesterer sig efter omst\u00e6ndighederne<\/em> – og \u00f8nsker kun samkvem med v\u00e5gne individer<\/em>. <\/p>\n\n\n\n

Sande s\u00f8gende sj\u00e6le, der sigter efter indsigt<\/em> – viden & visdom,<\/em> ikke tro & h\u00e5b. <\/p>\n\n\n\n

= = = = = = = = = = = = = = = = = =<\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

= = = = = = = = = = = = = = = = = =<\/p>\n\n\n\n

I vores tidsalder er alt dette nu, gradvist og brudfyldt, ved at blive aldeles \u00e5benbart: Indvielse fuldbyrdes p\u00e5 Jorden – ikke i luften. <\/em><\/p>\n\n\n\n

Lyt derfor agtsomt. Her er et forslag: Afsv\u00e6rg id\u00e9en om at finde fred & lys i gruppeafstivningens f\u00e6lles betryggende fornemmelser; lev altid <\/em>vildt & v\u00e5gent. Jo, jo – tr\u00e6d gerne ind i kreds med ligesindede, men vid<\/em>, at intet har v\u00e6rdi og varighed, som ikke er dit eget<\/em> – k\u00f8bt og betalt med egne m\u00f8nter. Undtagelsestilstanden vil eskaleres som en b\u00e6redygtig livsform<\/em><\/a> <\/em>– s\u00e5dan udvirkes overgangen, og stien betr\u00e6des beslutsomt. <\/p>\n\n\n\n

Lysten<\/em> – den driver V\u00e6rket. <\/p>\n\n\n\n

I dit liv.
I dit liv.
I dit liv.<\/p>\n\n\n\n

Ok?<\/p>\n\n\n\n

^<\/p>\n\n\n\n

Det kaldes, blandt s\u00e5 meget andet, synkronicitet<\/em>, n\u00e5r tingene p\u00e5 underligt bem\u00e6rkelsesv\u00e6rdig vis begynder at falde i hak<\/em> – at passe us\u00e6dvanligt godt sammen. Det ene med det andet. Det ydre med det indre. Du t\u00e6nker \u00e9t – og ser det ske. Kosmos er levende. Du f\u00f8ler dig – besvaret. Er du mon sk\u00f8r? <\/p>\n\n\n\n

De fleste standser d\u00e9r. Man frygter – bestemt med rette – at miste sans og samling. Men h\u00f8r nu her: Der findes muligheder for at forene det \u00e5bne og det indhegnede. Styrk sindet, hv\u00e6s kniven, v\u00e6r bjerget – og ops\u00f8g samtidig alt det s\u00e6re. <\/p>\n\n\n\n

Tilegn dig indsigter fra sj\u00e6lens kort, kast hemmelighedsfulde tr\u00e6brikker p\u00e5 bordet, udregn den rette side i forvandlingernes bog, lyt efter nattens stemmer, kik flittigt efter fugle. <\/p>\n\n\n\n

Alt det. <\/p>\n\n\n\n

Den gamle visdom om sammenh\u00e6nge mellem mennesker & Magter – muntert forynget, ivrigt-roligt fremelsket.<\/p>\n\n\n\n

Divination<\/em> – kaldte de det i Rom. Klinisk, tidssvarende betegnet: aktiv synkronicitet<\/em> – som enkelt operationaliserbar teknik til b\u00e5de opv\u00e5gning & manifestation.<\/p>\n\n\n\n

Alts\u00e5: Foren frimodigt en sp\u00f8rgende-lyttende praxis med kyndig omsorg for b\u00e5de krop & sind, s\u00e5 stien kan begynde at bugte sig stille og roligt indad, indtil du falder – opad. Modtag det som et forslag. <\/p>\n\n\n\n

Og glem for alt i Verden aldrig dette: <\/p>\n\n\n\n

Ilden er altings dommer og opv\u00e6kker.<\/em><\/p>\n\n\n\n

Ant\u00e6nd den uden t\u00f8ven. <\/p>\n\n\n\n

Lev vildt.
\u00c6d \u00f8jeblikkene.
Afsted.<\/p>\n\n\n\n

\/ \/ \/ \/ \/ \/ \/ \/ \/ \/ \/<\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

\/ \/ \/ \/ \/ \/ \/ \/ \/ \/ \/<\/p>\n\n\n\n

Taknemmeligt
fra
A<\/p>\n\n\n\n

– – <\/p>\n\n\n\n

Tilf\u00f8jelse fra den virkelige Verden<\/strong><\/p>\n\n\n\n

I forl\u00e6ngelse af udsendelsen af denne tekst modtog jeg en kvindeligt kyndig p\u00e5mindelse om en s\u00e6rdeles v\u00e6sentligt detalje, der \u00e5benbart var sunket i glemslens dyb – men nu lykkeligvis meldte sig i et m\u00f8de mellem mennesker: I \u00f8jenkontakten med \u00e9t enkelt af alle de blikke, som Abramovi\u0107 sad over for i sine 700 timer, f\u00e6ldede hun en t\u00e5re. Bjergkvinden gr\u00e6d. Det skete, da hendes forhenv\u00e6rende partner – i elskoven & i V\u00e6rket – satte sig over for hende. I fem \u00e5r havde de ikke set hinanden. Han gr\u00e6d og gr\u00e6d. Fra hende fl\u00f8d en enkelt stribe. K\u00e6rlighedens gr\u00e5d. Regnbuens lys i Verden. Derefter gik de hver til sit. Aldeles uden anger. <\/p>\n\n\n\n

Ogs\u00e5 dette h\u00f8rer til mysteriet<\/a>.<\/p>\n\n\n\n

. . .<\/p>\n\n\n","protected":false},"excerpt":{"rendered":"

TilA * * * * * * * * To be a performance artist, you have to hate theatre. Theatre is fake: there is a black box, you pay for a ticket, and you sit in the dark and see somebody playing somebody else’s life. The knife is not real, the blood is not real, … <\/p>\n

L\u00e6s videre “Kairos”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[4,5],"tags":[178,175,177,169,84,173,174],"class_list":["post-1523","post","type-post","status-publish","format-standard","hentry","category-arkiv","category-tekster","tag-all-that-jazz","tag-divination","tag-freya","tag-holy-crowley","tag-magi","tag-marina-abramovic","tag-synkronicitet"],"yoast_head":"\nKairos - Stenblomster - til alle og ingen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/nordaand.dk\/?p=1523\" \/>\n<meta property=\"og:locale\" content=\"da_DK\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kairos - Stenblomster - til alle og ingen\" \/>\n<meta property=\"og:description\" content=\"TilA * * * * * * * * To be a performance artist, you have to hate theatre. 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