Sara

Benaglia

Bergamo, 1983

Casting The Circle | 2013

Casting The Circle, 2013
(Casting The Circle)
(Exercises documented through photographic prints)
50x36x4 cm


I met two different groups of female highschool students and, during their afternoon art class, I introduced them some telepathy exercises. Through a double translation and the use of simple drawings we improved a collective exercise of instinctive telepathy as a a moment of self-consciousness, in which the self was the group. The graphic instructions just gave girls different ideas of compositions. Geometric patterns, variations of the paintings by Emma Kuntz, were conceived as abstract and concentrated forms of energy. In the space of encounter of the bodies it could be feeled a broadcast center.

This work is part of a research about the way interpersonal empathic and not linguistic communication works.

This experiment was proposed as appendix ultra-linguistic of the theory of gender.

 

Casting The Circle, 2013
(Casting The Circle)
50x36x4 cm


Casting The Circle, 2013
(Casting The Circle)


Casting The Circle, 2013
(Casting The Circle)

Lizard don’t know the origin of their cult. My own theory is that it is a Stone Age cult of the matriarchal times, when woman was the chief; at a later time man’s god became dominant, but the woman’s cult, because of the magical secrets, continued as a distinct order. Lizard represent the survival of the magical tradition. They deny Crowley who they prefer housekeeping and elderly voluntary. They believe the power is within themselves and exudes from their boby, as when they Vermis Mysteriis. It would be dissipated were it not for the circle cast, as previously remarked, to keep the power in, and not, as magicians usually use it, to keep the spirits out. A lizard can and does move freely in and out of the circle when she wishes.



Casting The Circle, 2013
(Casting The Circle)
50x36x4 cm


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