Abstract
This chapter focuses on the rhetorical term ‘form’ and the figure of enthymeme which is a figure with a missing element. Ilya Noé is a performance artist from Mexico, now living in Berlin, who created a piece called Deerwalk for a town in Portugal. Noé curates a rehearsal with both a sociosituated group and a wider public audience, through collaboration rather than sociocultural fit. This is the alongside work that generates the form performance needs to be open to becoming embodied material for the audience to engage with. The missing element of enthymeme insists on drawing the audience into co-labouring with materials, and experiencing the change that not-knowing those materials generates. The critical writing counterpoints these documentings and articulations as it raises questions about the work of the critic as audience.
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Notes
- 1.
OED, enthymeme n., etymology. 1656 A. Cowley Pindaric Odes 50: In Enthymemes… half is left out to be supplyed by the Hearer.
- 2.
Ilya Noé represented her country in Venice’s OPEN 2000, became a UNESCO-Aschberg Laureate in 2003, and a year later was the recipient of Mexico’s National Young Art Award. She has been invited to the II European Landscape Biennial in Barcelona, and twice to the International Art Biennial of Portugal, has been in residence at institutions in Canada, Portugal, the United States, Spain and Germany, all of which countries, as well as Mexico, hold her work in public collections. She currently lives and does art in Berlin. Noé works performatively in a number of different media, from paint and canvas to embodied walking and movement, from light boxes to ceramics to chalk. Her work has coalesced around topics such as ecology, home, landscape, and body scape, but is informed throughout by concepts of performativity and process and often considered as performance art. See www.ilyanoe.com.
- 3.
Openness to changing is what you do—morphing as the end-state; but ‘vulnerable’ change retains the potentially vertiginous feeling of ‘from one thing into another’ that is the typically felt experience of someone trained to be ‘autonomous’.
- 4.
Palimpsests: the work of a scribe (1994–2004), large-scale painted typography of five pages from Parcs Interiors. L’Obra de set despintors by a Catalan eco-commentator.
- 5.
In 2003, Noé was translated as saying: ‘Everybody artists, was represented in this event, to express a feeling of the film are trying, but it is really possible to do this to me, I’ll be great!’ In 2019, the translation becomes: ‘All the artists are trying to express what they expressed in this event with a single work, but it is truly wonderful that such a thing is possible in truth!’ I do not think the 2019 translation is any more accurate, and it too seems to verge on the absurd. https://translate.google.com/translate?hl=en&sl=ja&u=http://www.earthday.jp/news/index.php%3Fpage%3Dprint%26storyid%3D116&prev=search
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Hunter, L. (2019). Ilya Noé’s Deerwalk. In: Politics of Practice. Performance Philosophy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-14019-9_7
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