Snejanka Mihaylova

Mont Analogue    existed as a publication between fields and materials, and as an ongoing conversation between Snejanka Mihaylova and Piersandra Di Matteo. It became an attempt to bridge publishing and performing, a procedure to heal a feeling of isolation. It began in 2009 when I was invited to make a contribution to an academic philosophical journal in Sofia within the frame of a 16-page parasitical insert, which literally became a space of encounters between different people. Mont Analogue saw four issues: Issue 431 Future, designed by Ayumi Higuchi, Issue 1 Theatre of Thought, designed by Philip Baber, Issue 7,23 Hapax, which took its form as a meteorite and an event in Répétition Island, curated for the Centre Pompidou by Raimundas Malasauskas, and Issue 4 After Abstraction, a four-day inhabitation of the island of Schiermonnikoog with Snejanka Mihaylova, Philip Baber, Lot Meijers, Justin Gosker, Gertjan Fransiscus, and Piersandra Di Matteo, involving cooking, round-table discussions, and the making of dances based on the movements of the planets. Artists were invited to create rules for the numbering of the issues. The number of the first issue, provided by Luca Mattei, was chosen by throwing dice into the Bay of Naples, the second was decided by way of a meditation in the Negev desert by Gertjan Franciscus, and the third was an irrational number decided by Lot Meijers.

Many other contributors shared in the question of potential spaces in thinking and making (Voin De Voin, Francesco Bernardelli, Joe Kelleher, Tania Theodorou, Christian Thompson, Barokthegreat, Lorenzo Senni and others) as a sort of journey in stages, an expedition into territories where artists, curators, and writers found themselves on the borders of the visible and the invisible, performing their own vision as plural parts of a shared movement of thought. Each issue was related to an experience, a live event that took place, a very particular set of circumstances.

Theatre of Thought, which we are now republishing in Texto on the invitation of Riet Wijnen, dealt with a notion of theatre that goes beyond the idea of event. It also led to the creation of the Crystal Language — based on the symmetrical growth of a form and the notion of non-mathematical infinity.

After the Theatre of Thought issue, the journal decided to cut the already almost non-existent budget. At one point they asked me "If the abyss in the editorial we are talking about is G-D?" Not that I necessarily experienced it as censorship, but generally I was aware that any metaphysical or psychoanalytical reference would be regarded with deep suspicion. In light of today’s situation in Europe this document for me radiates a certain innocence. It is a document of an era in which I, like many others, assumed that making one's own work is testament enough to the need for change. And that controlling and defining the borders between fields, thinking processes, and people(s) will not enlarge understanding.

Today I feel the need for a stronger voice and Mont Analogue is neither the invisible nor is it the border between what can and cannot be defined. It is a need for clarity within the complexity. A call for clarity. A voyage to make distinctions. I cannot know what I know and think that I can keep on/continue knowing it without consequences. This attitude equals silence, and death. And if today there is one border that matters and which we keep disregarding it is the one between death and life.

Bon Voyage!

Snejanka Mihaylova
February, 2016