The “explosion of memory” of all excessive and transgressive acts of Via Negativa; the memory of nudity, blood, sweat and urine that permeated contemporary Slovenian and European performing arts scene thanks to Via Negative performers in the period 2001 - 2011. As a form of artistic expression, excess is a performing strategy that has significantly marked the work of Via Negativa. However, transgressive acts, nudity, provocation, shock, etc. in their projects have never served as cheap means for attracting media attention. Quite the opposite, they are well-considered strategies used by Via Negativa to provide viewers an unexpected insight into the paradoxical, often almost perverse position that the performing arts creators/viewers have within the contemporary industry of pleasure. Today, we live in the paradox time of media blindness – the more everything is visible, the more everything is exposed by media, the more we indulge in the visual pleasure, the less we actually see. Via Negativa employs the same strategy to demystify its own position (and that of a viewer) in the machinery of contemporary art production: that what no-one should see, never reveals some hidden point of things, but merely presents a new, ever-more spectacular mask covering that what we should all see.
The monograph is a chronological review of ten-year creative endeavours by Via Negativa, one of the most astute Slovenian projects of contemporary performing art of the last decade that is a regular guest at a number of European festivals and art centres. The publication with extensive visual material and excerpts from texts documents 29 performances accompanied by Dr Blaž Lukan’s essay Erasing the Audience which in detail analyses Via Negativa’s performing strategies with a focus on establishing their relation with a viewer.