Everything is Everything and There is Nothing Else

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Everything is Everything and There is Nothing Else

This is a 3 minute clip giving a sense of the performance installation work of Everything is Everything and There is Nothing Else presented one evening only May 11, 2019.

This was what was written in the playbill for the evening. 'This immersive installation and performance will be presented live for 1 evening in Brooklyn, New York Everything is Everything and There is Nothing Else presents, in the guise of a travel memoir, the ancient Greeks as they moved, and we continue to, from the ecstatic to reason, and from the mythopoetic to logos. Accompanied with video projections, haptic suits, AI, virtual hot tubs, an ambient electronic surround environment, teletype, video projections, feedback and recursion, this visual and aural performance asks us to once again consider our bodies, our being, our universe, the ecstatic, and the one and only life that is ours.'

In this new work Marc Lafia creates a variable and modular performance art piece bringing together numerous drawings mounted on large canvases, photo collages, fabric works, sculptural shrines, image essays and videos to create an installation environment of 4 rooms in which he and 10 performers presented for 4 hours a reading of the history of consciousness and the cognitive remapping of subjectivity, of the real and virtual politics of power, territory, wealth and divinity.

Taking the ancient Greeks and his recent travels there as his starting point, he writes;

Last summer we (my two teen children and wife) went to Athens and fell in love with it. After 6 weeks of traveling to various islands we were convinced we would buy an apartment in Athens and make it our new home. It got me to think about what it would be like to be an exile, to be in exile, to be without home, to ask what is home, one’s language, habits, customs.

When we returned home to New York I started writing about the trip. It grew inside me getting richer and richer. It grew, because for the first time in writing one of these pieces, I wrote it following the route of our travels, as a kind of travel journal.

I wrote it from the point of view of me and my experience with my family and my reading and thoughts that folded and drifted and wafted in out and out and along those recollections of the places we visited, the people we met, the landscape, the history, the contemporary.

On May 11th, in New York he presented the work to a live audience wherein 90 entries of the text (recorded and sound designed over the course of 6 months) selected from the 134 discrete entries including Athens (29), Islands (41) Greece (40) and The Peloponnese (24) were performed. The performance and installation was accompanied with video projections, haptic suits, AI, virtual hot tubs, an ambient electronic light surround environment, teletype, video projections, feedback and recursion, audience engagement, all of it turning on initiation, communion, confession and the ecstatic.

The work re-reads and re-presents the ancient Greeks as they move from the ecstatic or the instinctual, to reason, and from mythos to logos. Over time we realize the 'narrator' and the chorus are inside a kind of experiment, or being observed. The narrator is in search of the Godhead as are those observing him .

As per the notation for the work, the number of performers is variable, as is the length of the performance, and design. For the New York performance, there were four Butoh dancers, four mask and movement performers and two chorus members.

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