Watch me Dance on that Rat's Tail

Follow the sound of the pipe It’s 1284, an unknown man arrives in the rat-infested town of Hameln dressed as a jester and claiming to be a Pied Piper. He promised the councilors to solve their issue with rats and the councilors in return promised him a hefty reward. The Pied Piper played a melody that magically hypnotized all the rats which followed the Piper to the Weser River where they drowned. Despite his success, the councilors broke their promise and refused to pay him for his work. The Pied Piper left in a rage, only to return later to take revenge. It's June 26th, the locals are in church, and the Pied Piper returns to play the pipe again. But this time 130 boys and girls followed the Pied Piper out of town... Anna Ruth’s visual world represents an evocative post-mythological narrative. Exhibition, which she prepared for the Pragovka Gallery, is loosely inspired by the medieval story of the Pied Piper. Anna has embarked on her new journey (using a holistic intermedia form) following the footsteps of the Pied Piper; she reincarnated into him while playing her thorny whistle and using his double-tailed tongue. The pipe, from which the flute evolved, is one of the oldest musical instruments attributed to the Egyptian fertility god Osiris, who was also the god of the dead – the resurrected victor over death and king of the underworld. The pipe, as an attribute of the magic with hypnotic power, was used by lords, fauns, cupids, snake charmers (snake flute pungi). The pipe served also as a Hussite firearm, a unit of the organ, Mozart’s last opera is called The Magic Flute, we could go on and find countless references. A wind instrument that transforms the breath into a weapon. Breath as a prerequisite for life and death. The author herself reflects on it in her texts: The flute dominates, even though it is a ridiculous instrument that we all learn to play as small children. There is no one who has never played it. I follow up on the shape of the Jimsonweed, which I call the “angel trumpet” in my paintings. Despite its laughable and mischief nature, the flute is a tool for manipulation, hypnosis, temptation and misdirection. The Pied Piper used his flute to control all living creatures. The spines and exaggerated size of the flute represent its dominance. I like to think of the exhibition in a museum-like way, as if there are objects associated with this event, a warning, a curiosity for future generations. To the sounds of flute by the Dead Can Dance, I smoke an opium pipe, eat Jimsonweed tubes filled with whipped space-time and the holotropic moon melts in a puddle of tomato juice. Anna invites us into her world, which smells of timelessness like everything, everywhere, all at once. Something that happened long ago is happening again in a new dimension, perhaps parallel. If we look into her dark almond eyes, that resemble two black holes at the end of the universe that suck in all light, only to be exposed on the other side in a new form, we can see image of her on our retinas. In the oasis of the psychotropic licorice forest, there are clouds of fringe floating, the hay infusion produces single-celled organisms, the new world is tamed with straps, the saddle of dominance is placed on the head, the crown of thorns has been transformed into a pipe. Follow its sound.