the general discourse on language of art is way too protracted and boring so i’ll just reflect on an aspect of it’s innate power to assemble and disseminate ideas and constructs; one such case has to be the performance of jan fabre’s mount olympus. stopping the clock on conventional analysis of those greek gods and their greedy deeds, fabre brought a different perspective into play. focussing on tragic tales and vivid theatrics, he exhausts his dance troupe and audience with a performance that lasts 24 hours and comprises all manners of the performing arts. his portrayal of these divine archetypes unravels into a debauched assembly of maniacal behaviour; sex and tragedy is the beginning and end of this half-asleep-half-awake-ness and it creates the interactive backdrop that makes the loss, rage, grief and futility play out so vividly emotive. this excess of humanness and specifically it’s darker nature emphasises that powerful narrative from antiquity and brings it to life (and death) in fabre’s own macabre way. the imagery from this experience and also it’s improvised parts crossed over into somewhat of an intoxicated dream sequence through the physical and mental fatigue of the viewer and participants; it is a demandingly touching piece which i find as painful to recall as it was to experience; a foremost example of how the language of art continually refuses to be confined or structured and remind us of our inexplicable lust for the comprehension of our own tragedy.