At issue here is a forceful and abrupt passage through three doors; the creation of a situation that advocates the right to free exercise of the transcendental symptom of mental suffering. The first door is the door of a bus carrying war refugees that leaves from the mosque in Zagreb to the still active war zone Bugojna in Bosnia and Herzegovina. The second door is the door of Nazi psychiatric hospitals in Austria behind which stand doctors, nurses, the SS and Death. The third door is the film door from One Flew Over the Cuckoo’s Nest.
There is another door, the sealed door of Kingsley Hall. A long time ago, behind it lived Ronald Laing, Mary Burns and all those who occupied the spaces of a practice that produced the symptom of mental suffering on its utmost edges of the possible. The performance Doors is a manifesto of an unaccomplished idea named Parainstitute Indoš whose goal is – through art praxis, paraphrasing the idea of Jain philosophy – to do good at the frontiers of human abilities and the established rules an artwork is supposed to respect. The performance aims to demonstrate how the transcendent symptom gets liberated and lives as a constructive and active factor of social tolerance and of one human being to another. The divulging of the transcendent symptom is an important element in developing “threshold levels” of tolerance (insofar as it is not physically self-destructive or destructive in relation to others).

Performers: Milan Manojlović - Mance, Miro Manojlović, DB Indoš
Films 16 mm: Nicole Hewitt / Blue Film and Basketball