Via Negativa

Incasso begins in the spirit of a quotation. The reference is Jan Fabre and his performance Dinar from 1982. A female ticket seller appears before the audience at the entrance to the theatre asking them politely for money for tickets. The money collected is used as material for the performance, and represents a symbolic (fetishistic) value. Katarina Stegner wounds herself masochistically, sheds her blood over a bill, thus elevating it to a level of a Duchampian ready-made artistic artefact, launching it from the field of utilitarian to the field of aesthetic. She then frames the bill and tries to sell it at an auction for an incredibly high price – not receiving a response from the audience.

A new mimesis has been added to the previous projects of the Via Negativa but through already established standards and methods. The exceptions in Inkaso are based on an ironical, reflexive moment… It is created most effectively through live sculptures used for scene construction… At a certain point the theatre becomes similar to a painting, image as a theatrical performance product which is chosen at the moment it’s seen… The painting as a body, which possesses a unique effect. Live sculpture as an improved horizon of the show, separated at the key moment of the theatrical scene creation. The exhibits with the autographs of each actor/actress are packed in plastic bags (which are later opened at the box office). Like a unique concentrated intensiveness taken from the dynamic poses of static figures (Lotman), the only feature of the bare moment.