A mystery murder artist’s novel by Alex Cecchetti, in which the artist and narrator realises he is dead and decides to investigate the causes of his own death.
“I am dead. Homicide, assassination, accident, suicide, the detectives have come up with nothing. The labels in my clothes, my fingerprints, my shoe size, everything has been unstitched, erased, wiped away, blanched, bleached, and consigned to oblivion. As the only clue, in a secret pocket sewn into my trousers, the detectives found a flimsy slip of paper torn from the pages of a book. On that folded bit of paper just two words, Tamam Shud, “this is the end.” Experts, antiquarians, and opium smokers have been consulted, and all agree that these are the last two words in the Rubaiyat, an ancient collection of esoteric poems written by a Persian poet named Omar Khayyam. What the hell do I have to do with poetry, Persia, and hidden pockets? I can’t even sew on a button. My identity is still unknown and not even I remember much. This is why I have decided to investigate my own death.”
The Tamam Shud narrative emerged through a series of episodic performances and an exhibition by Alex Cecchetti at the Ujazdowski Castle Centre for Contemporary Art, Warsaw. For two years the writing process and the artistic process were interwoven, feeding each other as they evolved. The art project and the artist’s novel are linked together as much as the life of the victim is connected to the piece of paper found in his pocket.
Artist, poet and choreographer, creator of performances and idiosyncratic objects, Alex Cecchetti (born 1977 in Terni, Italy, lives and works in Paris) has developed a unique practice, difficult to classify, that could be called art of avoidance: tactical and poetic, aesthetic and materialistic, its system leads to produce specific situations or objects that can exist both inside and outside the traditional exhibitions. It is in this double movement of representation and conceal that it’s possible to inscribe his staging of invisible choreographies of hidden nudes and sleeping dancers. His work is focused in the construction of specific narratives that are experienced both mentally and physically by the audience.
“我已经死了。凶杀、暗杀、事故、自杀，侦探们什么也没查到。我衣服上的标签，我的指纹，我的鞋码，所有的东西都被拆开，擦掉，白化，漂白，并被遗忘了。作为唯一的线索，在我裤子上缝的一个秘密口袋里，侦探们发现了一张从书页上撕下的薄薄的纸条。那张折叠的纸上只有两个字：Tamam Shud，”这就是结局”。专家、古董商和吸食鸦片的人都被征求了意见，他们都认为这是《Rubaiyat》的最后两个字，这是一部由一位名叫Omar Khayyam的波斯诗人写的古老的神秘诗集。我跟诗歌、波斯和隐藏的口袋有什么关系？我甚至不能缝上一个纽扣。我的身份仍然不为人知，连我自己都不太记得了。这就是为什么我决定调查自己的死亡。”
《Tamam Shud》的叙述是通过一系列的插曲表演和Alex Cecchetti在华沙乌雅兹多夫斯基城堡当代艺术中心的展览出现的。两年来，写作过程和艺术过程相互交织，在发展过程中相互补充。艺术项目和艺术家的小说联系在一起，就像受害者的生活与他口袋里发现的那张纸一样。