Rainer Pagel

My performance work since the 1970s developed from a fascination about the personal becoming public, disbelief and mourning turning into the search for emotional stability, often only to end in a new sense of precarious equilibrium. Along the way, I juxtaposed elements of stability – instability, support – abandon, strength – fragility, creation and destruction through measured and often ritualistic actions. There was no shortage of stimulus or provocation to incite (performance) work during the troubles; this continues long after the peace agreements as new and old, hitherto hidden, horrific issues break through and solidify as fake truths.

Archaic ritual and ritualistic behaviour, stereotypical, and in the context of Northern Ireland, sectarian mind-maps of our social and political environment invariably lead to bigotry, xenophobia, homophobia and a little-challenged return to and acceptance of biblical interpretations of our world. It is obviously easier nowadays to portray a call for acceptance of diversity and difference of opinion as an attack on (typically Christian) values rather than a human rights issue.

Art in general, or my art in particular, will not fundamentally change this; all one can hope for is that art, which is politically motivated or which, in a wider sense, comments on our society, will be seen by as many people as possible and effect whatever miniscule changes in however small a part of the audience in attitude, perception or behaviour.