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»As the performance progresses, the viewer becomes more and more aware that s/he is witnessing something magical, something that reminds one of Alice in Wonderland, where different worlds keep arising quickly and without any logical sequence. Whether the viewer is watching dreams, intuitive emotions, childhood memories, is irrelevant. The creative spirits of this performance are creations ex-nihilo, creations arising out of its own creative potentials.«
(Alja Bulic: “Walking the Path of Human Imagination”, Radio Student, 11.9. 2007)

»Is the Subconscious hidden (or revealed?) also in the setting up of performance in the  black box stage? Composed as a sequence of scenes, lit by carefully designed bundles of light allows one to put the scenes together and assembles the story by following the codes of  narration or simply merges the scenes, representing archetypical images in figures.«
»The scenes arise as shooting stars from repetitive, undreamed like images; the video  projection brutally cuts in: in the laboratory, symbolically hidden from the audience, test tubes are being filled, inseminated and living beings are being cloned. Then, an old yellowish photo of a family covers projected images of test tubes. And at this point, the performers come together in this frozen space for the first time; as some kind of an admonition, as if saying that in spite of the differences among them, they are here, all the way, like a family, like future corps; and all that will be left after them, is an old yellowish photo. And yet, not only the photo, what keeps them “alive”, is also the hand of the laboratory inseminator. And at the end, the woman who is carrying the egg throughout the performance mummifies the other female character together with the egg. So, what keeps us all alive then? The laboratory, memories, dreams?«  
(Jedrt J. Furlan:“Soft Dreams of a Magical Oblivion“, Dnevnik, 13.9.2007)

»This performance is a patchwork of sequences, in which the meditative intertwines simultaneously with the carnevalesque absurdity and the lust for life; for the most part, abstract relationships interlock different characters with symbolic roles performers play. And all these scenes are being included in the symbolic order of associative meanings that each viewer can understand in any way s/he chooses.«
»Oblivijon is distinguished by performers’ artistic execution, and particularly by Ivan Peternelj’s exceptional psycho-physical discipline; moreover, by a number of visual and performance wise incredibly aesthetic scenes; including the final act, where one female performer mummifies another female performer together with the egg the latter is carrying. In this possibility of the end of evolution one can also read the author’s critique of civilization.«
 (Mojca Kumerdej: Remnants from Oblivion, Delo 14.9. 2007)

»One will remember some of the unusually beautiful images: slow, almost meditative movements of performers inside the red light, placed inside a red circle, which later becomes some sort of an arena of clownesque scenes, the mummified pregnant woman and the like; on the other hand, as the performance progresses, these images seem like the images out of dreams that are actually able to address our Unconsciousness – and as we know, the latter operates by following a completely different logic, which reason can never fully comprehend.«
 (Amelija Kraigher: Performance as a Rhizome, Vecer 15.09.2007)

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