Perfect Distortion

This performance was the second in the "Oxymoron" series. The first was presented in 2023 at the Tychy Performance Festival during the "New New Media" edition. The performance, titled "Perfect Distortion," referenced the theme of the "Hybrids and Boundaries" event—live performances that incorporate technology.

An oxymoron is a stylistic device that intentionally combines two opposing words, creating a surprising paradox and giving the expression a new, metaphorical meaning. "Perfect Distortion” serves as an oxymoron that, for me, signifies a distortion of reality that is so flawlessly executed that it becomes imperceptible. For example, consider a reflection in a mirror, where our brain reverses left and right. The same concept applies to technology-based media, which do not simply convey images of reality but actively shape them. This aligns with Marshall McLuhan's famous quote: "The medium is the message."

The performance's starting point was the fluidity and hybridity of concepts that, prior to the digital era, seemed contradictory. Notable examples include fake news and post-truth, which are not synonymous with gossip or lies.

I based the performance on the interaction between real space and its reflections in mirrors and camera lenses. It visually explored how changing modes of imagery, mass media, new media, and social media influence our perception of reality and interpersonal relationships. Mirrors placed opposite each other created the effect of infinitely multiplied images, while footage from two cameras—including one mounted on my head—transmitted live visuals of the performance.

This setup allowed the audience to observe my actions directly or follow the camera feed. An important concept for me was liminality, which is the smooth transition from one state to another, such as from ice to water. I also evoked seemingly impossible phenomena, such as burning ice, and used paradoxical entertainment products like "sparklers" (commonly known in Polish as ‘cold fire’), whose name implies safe play despite the known risk of burns.

Throughout the performance, I posed questions about the extent to which technology has infiltrated our lives and its capability to imitate, simulate, or replace elements of reality. I examined the "forces of nature" and the elements that can destroy technology. Can even the most realistic or immersive projection of water or fire replace the sensual experience of actual contact with these elements? Moreover, I questioned how technology both aids and hinders performance art, and where the line is drawn between spectacle and genuine experience.

photo: T. Ogrodowczyk, from the MSK Łódź Archive