The End, First Rehearsal

Slovenian photographer Goran Bertok is dealing with human body, pain, pleasure, violence and death. In his series of photographs Stigmata, the female body is exposed to self-harm, visible on the surface of the skin. Skin is a map, scars are paths.
Slovenian photographer Goran Bertok is dealing with human body, pain, pleasure, violence and death. In his series of photographs Stigmata, the female body is exposed to self-harm, visible on the surface of the skin. Skin is a map, scars are paths.

THE END, FIRST REHEALSAL

Kaja Kraner: The End, First Rehealsal

What is the time of death, when dying is regarded as a performance? To begin with, death as such could be considered as having (at least) a double temporality: one belonging to the biological and the other to the social order. Social death depends on the incorporation of the biological order in the social order and discourse and, as such, also becomes situated in history. Biological death must be identified, recognised and declared; it must acquire its space and time through a performative action. A performance as a tool of operation and change of the current state of affairs through the act of naming is mostly about changing the relationship between the interlocutors and, in order to be successful, presupposes an authority (an official with the power to declare a death and sign a death certificate) and recognition from the addressee.

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