Postscript

Back to Cairo and wondering about singularities, processes and space. I keep thinking of all the poignant statements everyone revealed at some point:

• "I work with restrictions"

• "My work is about negotiating the "I""

• "The easiest way to create connections is to ask people to do things for you"

• "The most exciting thing about creating/initiating a process is exploring its possibilities with the audience"

Then what someone told me about history. The burden of history that all of us (Egyptians?) have to carry. And I begin to think of how singular is personal history and whether the object, that is the history, can dissolve in the process of performance.
No it can't.
There is so much at risk of being silenced for the sake of conformity to Western history and aesthetics. Even if one does immerse his/herself in this history and aesthetics one is always an "out-sider", out and on the side of it by his/her own sense of what this history and these aesthetics mean or signify for its subject.
So we are back to subjectivities again. The subject, what constitutes a subject and how much does a subject transform from one context to another. How can a subject's history, personal narrative dissolve (transform?) in performance?
How can a subject identify with two or more contexts at the same time, maybe something like "multiple overlapping identifications", which I am sure there is a more meaningful word for it in German.
So how can one reconcile these multiple identification without falling into the absurd or annihilation of one them.
Or maybe falling into the absurd is the solution. It is the way to bring these different identifications together.