Hunter’s Lament, Down to Memory Lane is a solo performance on the principle of appropriations of nature as much as art.
From picking up a shell on a beach or a rock on a trail, to the rush of taking pictures of landscapes. We’re constantly collecting and thus - as Valentine Siboni likes to phrase it - domesticating nature/life. Siboni extended this statement to say that we kill (or to pursue the analogy of hunting and filming: we shoot), and put in boxes in order to apprehend. Nature becomes a ghost, taking form before the human gaze.
Hunter’s Lament is a wander, a trip without physical or mental destination. So far it has crossed:
The Art of Memory (principle described by Frances Yates in The Art of Memory: an ancient art consisting of remembering a speech by inscribing it in a mental architecture; ghost films; ghost novels; T.S. Eliot’s Little Gidding poem; sign language; lip syncing; seashore wanders; songlines (through Bruce Chatwin’s 1987 eponymous novel about how in Aboriginal culture they walk through the land and sang it in order to make it exist, and thus about the importance of nomadism); Derrida’s The animal that therefore I Am; live audio and video recording; Eurydice’s figure; necromancy (to communicate with the dead); psychopomps (to guide the dead); mediums and table turning séances.
By: Valentine Siboni — Supported by: workspacebrussels — Image: Image of the performer manipulating the performance’s turning table. Self filming, 2018.