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TRANSFORMATION RITUALS IN THE PERFORMANCES OF JUDIT KELE its own types of cultural performances that, due to their transitional nature, result in a kind of identity change." On the one hand, she started behaving like an artwork, “had to be fed well” or just “pampered”, and on the other hand, she had to realize that this was no longer a game. According to Van Gennep’s research, the whole “piece” can be classified as a temporary, direct ritual. These are the kinds of rituals performed for conscious purposes that directly effect and do not require the involvement of an external agent. Transferring the character to a state which, after exiting the ceremony, will be accepted as a new person, the event creates a new person.” In this case, can this performance be considered a religious ritual? William A. Haviland sees religious rituals as a kind of “tool” which humans can use to interact with the sacred. So at the auction, since the event did not include the usual customs, “Will you marry me?” - the utterance of the customary words, a large or family-sized number of guests, something old, something new, something borrowed, something blue... so that this event itself is “religion in action” itself, is not fulfilled.*° On the other hand, at the formally organized Octogon wedding, these were realized, albeit without the conventional traditions, not as a religious rite, but in a much more profane sense. However, as it turned out and was experienced, this adventure was not built to last beyond the initial phase. They soon realized that this would only work as a project within the framework of an artistic performance, as the wife and (both) husbands would soon not be satisfied with the circumstances. The wild marriage came unstuck even before the life contract expired. As the marital contract ended sooner than the date in the agreement, Judit Kele had to repay the remaining amount of the purchase price to Christian Tamet.*’ To bring a close to the whole artwork-being experience, Judit Kele created another performance piece in 1985, which was called Csdkolom,** which refers to saying goodbye as such. An end to the past which did not turn out as expected. It is the processing of (a) failure. Although the marriage was dissolved and to this day Judit Kele has still not moved back to Hungary, in 2009, she reflected on her experience. She was invited by Agents and Provocateurs* to partake in Andrea Gyorgy: Szinhäzteremtes, Textualitas es teatralitas feszültsegeben. ELTE Doktori disszertäciö, Budapest, 2007, 44-45, http://doktori.btk.elte.hu/phil/gyorgyandrea/diss.pdf, accessed 28 August 2020. 35 Gennep: Ibid., 42. Lajos Boglär — Richárd Papp: A tükör két oldala, Bevezetés a kulturális antropológiába, Budapest, Nyitott Könyvműhely, 2008, 117. Agents g Provocateurs: Ibid. Csókolom, performance Roberto Martinez took part in, Music: Katja Saariaho, Nouvelle Biennale de Paris, Ihéátre de la Villette (Paris, France), 1985, https://hu.wikipedia.org/wiki/ Kele Judit, accessed 28 August 2020. Agents & Provocateurs is an art project, the name of which is borrowed from Miklds Erdély. The project works together with Hungarian and foreign artists. It involves not only research, but also exhibitions and workshops. They have a film program, too, and also an archive of e 173"
