ŠUM #3, Domen Ograjenšek, “The Time of the ‘Whipped Image’ – Time and Transience in the Performances of Tibor Hajas”

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ABSTRACT: The aim of this contribution is to form an alternative to the predominant interpretation of Hajas’ performative practice while tackling its focal elements. Authors that have written about Hajas’ work have often limited themselves to the motives of torment, death and erotica, forming something that we could name the masochistic or self‑destructive side of his work. But as the latter lacks the motif of transience, the motif that has marked – be it by form or content – Hajas’ performances, the main goal of this contribution is to provide the basis for something that we could call – through the parallel with Schelling and his Romantic turn towards the primordial depth from which everything has sprung – the Romantic side of Hajas’ work.