Understanding the fear as the main cause of majority of traumas of modern society and renacting the role of the artists in liberating from the fear are the dominant ideas of our performance. Using and transforming the ancient ritual of Dissolution form the fear, very common in many parts of the Europe as something inherited from our common pagan history,we are trying to indicate the main fears of the society involved in it and to offer a direct introspection and possible ways of absolution from the fears by materializing them through reaction between water, fire, ashes and lead. Behaving as white shamans the artists involved in the performance try to confrontate the public with their fear and to make them understand the fear as the most important element of the Power and the first one to be attacked. Once the fear is gone the Anxiocracy will give its throne to Democracy. The figures in lead as products of reactions with cold water are intended to be exposed in front of the public on white wooden basements. The public will be asked to participate be recognizing and naming the metal shapes or by washing their faces and hands in the ritual water during the performance. We estimate a performance to last not more than two hours and to produce abut thirty figures in lead.

Igor Sovilj, jun 2008.

An old lady in a shamanist mood was dissolving the members of the group from their fears. The atmosphere of the ritual was going towards the persistent mentioning of a surconciesness and simbolism which was provoking, in a very kinky way, certain psichological reactions in the “patients”. Ritual repetitioning of single actions, like pronouncing the name of the mother of the patient during the ritual or the grotesque sound of the melted lead in reaction with the water, influence the condintion of the subjects involved in the ritual. The figures produced in the end are the main scope of the ritual. They present us our fears in a very material form. The old lady turns the figures in her hands and read from them the fears of the past, of the present and of the future. The time and the destiny of the artist seem to be capturated in this diabolic piece of metal laying in the hand of this socially recognized witch. The fear. The placebo seems to be playing its part of the role with satisfaction. The thing the old one is going to say will become a part of your mind for your entire life. It doesn’t matter if and how much you believe in this type of phenomena. What is important is that in front of you there is a ritual old most probably as the very fear, perfectioned by generations to swollow you more easily into its own system of traces and meanings. The mind which had on disposal only scientific evidents on the apsurdity of the similar rituals has very little chances to oppose successfully to the very complex system of levels and associations that fear can offer. The fear is omnipresent. The incertainty of this statement also makes you fear. The fear moves easily into and out of any form of existence and producing some brand new forms. Compositions of the kindreflect to all society with more or less simplifications of the general situation. All the cultural discurses, from the politics to the art are made by using the fear as a platform for the manipulating systems of all levels of society.