Blogs

English choreographer Ben Duke and his company Lost Dog were proposed by The Place in London for the modul-dance project. Duke talks about It needs horses/Home for broken turns.

More modul-dance videos on Numeridanse.tv.

Interview with Irish choreographer Liz Roche done in Tilburg in October 2012. In the framework of modul-dance she developed Body and Forgetting.

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Mala Kline is one of the modul-dance artists selected in 2011. Her project, entitled Eden has been awarded in Slovenia. She was proposed for the modul-dance project by Kino Šiška Ljubljana. Interview done during the modul-dance conference that took place in Tilburg in October 2012.

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The German artist Irene Schröder visited Graner in October 2012 for a modul-dance Carte Blanche residency.

More modul-dance videos on Numeridanse.tv.

How did the following aspects affected my work:

General:
What has affected my work more than anything in modul-dance could be summed up with the word "tailoring".

As I have joined modul-dance a little less than 2 years ago my main topic (apart from my project proposal) was how to tailor this opportunity to my real needs. I suspect modul-dance as a supporting network is introduced differently to different artists depending on their own home venue by which they were suggested and the role and the production conditions of that venue. In short, an interesting realization was that artists adopt the kind of approach to this opportunity that is suggested or presented by the home-venue. I am mentioning this as my situation was a bit different – suggested by Plesna Izba Maribor as my motherboard organization, yet based in Germany, in Frankfurt at the time of being introduced to the network.

This presented me with an interesting insight at the very beginning, starting to understand that although modul-dance is an umbrella for independent dance artists, with a concrete proposal and a fixed system of nominating, awarding membership and supporting the production of their work, it is also an experiment, experiencing it much more alive when understanding it as proposals and suggestions, trials, showings, gathering and exchanging rather than rules and regulations, requirements and criteria.

Development / Modular system:
Personally I have struggled with understanding the scope and the concrete possibilities the network can offer. Although very suggestive with its name, modular system was something that seemed to me a “solution” to something. It sounded as if there was an estimation of the then current productions and residencies and perhaps an observation that the artists lack a clearer vision or articulation of their process, therefore a modular system could be something to give a little push or present a suggestion/advancement of their methods and processes. It would simultaneously help the productions houses themselves to get more suitingly involved. It seemed as an encouragement to deepen one's interest and work and go pass the one-month processes where things are rushed and squeezed in. That is how I perceived it at the beginning. In that regard I must say that “insisting” on one project for 2 years proved to be very fruitful in defying the normal time-conditioned production modes. However, I had some issues with it; extending a project over two years, with a residency in every 5-6 months affects the continuity heavily. My personal practice already incorporates involvement with a specific project for longer period of time, so sustaining the focus and engagement with the subject is not a problem. The purely practical level, hardware of it however is – the project grows and changes thorugh time and the venues cannot always meet these new requirements of one's development. I found myself often compelled by the conditions to rigidly insist on my initial proposal, when in fact the phases of research or residencies brought about new, more suitable pathways to pursue, demanding different conditions than speculated at the beginning.

I have envisioned my proposal with three people at the begining; I have then started a research phase alone, continued with a residency with two other persons, the next one with only one, ending with another research phase where I was working with a group of local dancers. An obvious break in continuity here was due to many reasons – the conditions and possibilities of the hosting venues, the misalignment of the time schedules with the performers I have invited to work with and similar. Although not leading me to the desired outcome, each of the opportunities was still a step forward, expanding and enriching my proposal. Tensions between the aforementioned factors resulted too often in a compromise I had to reach within myself to progress instead of an act of balancing.

Speaking of different phases (research, residency for example), as much as it seems like a good model, it hasn't proved to work well for me. A matrix how a process is unwinding comes across as a valuable suggestion, yet it is something individual, very specific in each case. As it may be beneficial for a group of partners supporting an individual artist to bring about a full-fledged production, I found the modular system a bit over emphasized as it had little correspondence with the phases my project would have undergone otherwise, more organically I assume. On the other hand, it has worked wonders to be practicing such adaptability – using conditions to serve you and not the other way around or simply looking for the best in every opportunity. To conclude on the modular system, I have found myself to start considering the needs of my project and design necessary stages a bit late in my “modul-dance time”, focusing more on how to meet the ends – my needs and venues' offers. So after a year and a half of residencies I am only now at the stage where I'm clear with what is absolutely necessary for the project to be realized and what is less urgent and can be compromised.

Community of artists / Network of trust and colalboration:
Another point I would like to comment on is the community of artists. I have to say it was something I would have wished for more opportunities to engage with others. Meeting people at conferences made sense for me when the format was flexible enough to allow both – a presentation, performance as well an insight into individual's ways of working. I have been inspired by so many artists, connected with few and will for sure keep in touch with them in the future. It has been of great help to meet the rest of 50 something artists and exchange a bit on our development during the modul-dance support. This was the eye opener on how to use or benefit even more from the network, how to “tailor” it individually as I mentioned before. It seemed to me a bit like hearing the testimonies of other's “rules of the game” they have created for themselves.

Also very important was connecting to the programers or let's say everybody else involved that are not the supported artists, from different environments. It was definitely “insider's” information in sense that I got to learn how production is approached to and tackled. What is the venues' approach, values, requirements and criteria, how they treat the audience, and similar for sure expanded my own understanding and influenced not only my future management skills, but artistic approach to some degree as well – be it opening it up to new factors considered in what contributes to dance-making, be it becoming more protective and appreciative of my own artistic visions and beliefs.

However, not only community of artists, but the whole modul-dance community is something I did not expect to start to feel part of. Having heard negative experience of the past generations, jokingly naming it a "market for the programmers", I had my doubts of course, left a bit confused about what to expect. In retrospective, believing one only gets what one expects, I did get confusion, but also and most importantly got the support to develop my work. Both through time & space enabling 'em to work as well as developing skills needed for independent dance maker to create and expand. Although the premiere is not on the horizon yet, I can see already the development of my work and the side-effects of it on a broader scale – how I communciate and integrate in my current environment. All these changes and opportunities were however possible only through a good personal contact I had with each of the partner, mostly finding a common interest and therefore a good connection purely on a personal level, engaging in a chit chat, sychornizing energetically more than any kind of pre-concieved plan and aimed for connection.

The only thing left to add is that this experience has vastly influenced my “positioning” in the most broad sense of the word, to even think of it as a part of my vocabulary when reflecting on my work, it had been testing the range of my permeability – how, when and for what purpose am I exposing my artistic process intentionally or unintentionally and it added sparks to the already ignited desire of mine to have a future opportunity to be part of a tighter artistic community, where the flow of exchange is the motor, curiosity the fuel and integration and support the destination.

Picture: © Zoe Alibert

In May 2011, the Slovenian artist Jasmina Križaj wrote the following article for a modul-dance newsletter regarding her experience in the framework of the project.
Working period: from 04/04/2011 - 15/04/2011
Where: in Poznan, Poland - Art Stations Foundation
Who: Anja Bornsek, Cristina Planas Leitao, Jasmina Križaj and Tarras Some

Into the Out

Being in Poland was the first time for all of us. Have to admit I didn't know what to expect. There was a chance that it will feel like home and there is also very strong and in my opinion still somehow "fresh" historical memory. In some way it did feel like home.

After a long time I didn't feel like stranger while walking through the streets of another country.

We spend most of our time in the studio, which by the way, felt like a big privilege. It is a great theater/studio space, with beautiful made of red bricks back wall for great photos or video. The fact that the studio is in a shopping mall, gave us kind of perverse feeling. We are used to work far from so called normal human life, especially commercial one. But it is special when at and consumerism meet. I like the fact that somebody who doesn't reach so after art words but prefers commercial entertainment suddenly has both in one space. Maybe that changes people's perception about art. That it is not something just for privileged, that it is not something separated from our daily life, but it is actually like itself.

I was also giving technique classes of Flying Low. Have to say that I was very surprised by the speed and precision of working of Polish dancers. Really appreciate I could share my knowledge with them.

The work we did was very simple. But as they say "Less is more" was valuable also this time. The simplicity of the approach to the topic of Nervous System opened so many new chapters. Going deeper and deeper on physical, mental, philosophical and even emotional and spiritual level enrich and reveled many new possibilities but of course in the same time raised many new doubts and question. But I have to say those first two weeks of research were very productive and a good starting point and also a good take off for future research.

In the end I would just like to mention the generosity of the Art Stations Foundation team. Thank you very much!

Text written after an hour of shaking:

I feel like Leonardo DiCaprio in What's eating Gilbert Grape. With restless body. Swallowed back muscles like a puffy dove. Lying on the floor I feel the big mass of my heart. The weight of my heart. Its greatness and also whole its heaviness. I started fearing I could break the muscles/fibers that are attaching it to the sternum, if I continue shaking. I feared I would break my heart.

Wish to experience a slow motion fall. Maybe my legs don't shake, cause I believe that shaky legs represent weakness? So many tiny habits just in the fingers and those. Jazz took me. Then left me. Then allowed me to compose an e-mail. I sorted my mind. It eased my anger and have. Left leg and kidneys stayed as they are-exhausted, sucked, lonely, uncooperative.

Constant thought, every recognition has to be understood, constant trying to do, to try, to experience. Trying not to try. How are we spending our thoughts? Do we move because of discomfort, because of the pleasure that follows after releasing this discomfort?

Picture: © Saša Kuzjak

My first encounter with the modul-dance network was in November 2012 in Barcelona when I presented my work and the idea of the piece Duel. I was trumphally pregnant at that time so I new that if I want to create that show I would really need some support. My budget was ridicoulously small and on top I wished to check for the first time how it is to direct the others without being at the same time a performer (regarding my condition but as well in order to change the way I used to work). And thanks to the modul-dance network I managed.

After the mentionned above presentation it took me a year to finalize the piece. I was already after a first research period. All the working phases took places in the associated dance houses. Luckily three of them coproduced the show (one came "on board" after the meeting in Barcelona). Besides that and a help of the Polish Ministry of Culture (received by the Art Stations Foundation) I did not get any other support. So the budget stayed small but what had mainly changed was the fact that I could offer to the team very good conditions of work. The modular system helped me to get distance to the created material and to continue working in the "between periods". It gave me more time to prepare the studio rehearsals were the whole team would gather together. It was needed as in the same time I was taking care of the production matters. That why I apreciated the fact that we have met everybody personally in Barcelona. It helped the communication process to become smooth and direct without any burocractic nonsense or stiff protocols. It was honestly a great relief and this "humane" aspect of the whole production process I appreciate the most. I find it harder to establish an easy going relation with the programmer than with the other artist but within the modul-dance network it all happened in a relaxed way. I guess because the rules were very clear: it was all about matching. The artists were looking for the right house to get the right support for his/hers work, the curators were looking for the right artists to help him/her develop the right work. And whatever right means it was clear from the beginning that there is no need to come along with everybody.

So now its end of April 2014. My son Leon is 16 months old and the Duel had its premiere in November 2013. But... the show is not over . The original crew of the piece hapilly decided to spread in the world with their own babies so now it is my time to perform the piece. At the moment I'm working with another dancer on an adaptation of Duel which will be presented in Poznań in Art Stations Foundation the upcoming June and later on in CND Paris in November (were I was invited for a residency to rehearse the new version of the show). So luckily, even after the premiere I still get the chance to work on the piece following the idea that the "final presentation" does not have to be the end of creation.

Picture: © Peter Fiebig

Trailer for Baby it's you not me from The Mob on Vimeo.

In September 2011, Fearghus Ó Conchúir wrote the following article focused on his experience during the research he developed at Dance Gate Lefkosia Cyprus.

My abiding memory of the research time I spent in Nicosia was of the last evening spent with some of the delegates of the Dance/Body conference on the Turkish side of the city. We followed the academic Stavros Karayanni there to a cafe in a beautiful old square that once a month hosted a ‘pink party’ for gays and lesbians. There, Stavros danced a delicious, friendly belly-dance and I felt in that moment the embodiment of the conference theme: Dance/Body at the Crossroads of Culture.

Here was dancing where politics, gender, sexuality and ethnicity shimmied and swayed. And it felt good to be there.

My time in Nicosia was under the rubric of research module with modul-dance. Having used research at the Art Stations in Poznan and a residency at The Place to help me make my new work Tabernacle, I had originally intended that a research visit to Dance Gate in Nicosia would be part of that process too. It didn’t work out that way but when I was invited to speak at the Dance/Body conference, it made sense to combine it with a period of research there.

While I didn’t have a studio in Nicosia during that time, it didn’t matter. I was recovering from a knee surgery so couldn’t dance. Besides, having come directly from premiering Tabernacle in the Dublin Dance Festival what I needed was time to assimilate and reflect on that process. Doing it in such an stimulating context as the divided city of Nicosia, given that Ireland has its own history of division, helped many thoughts to settle in my head and opened up some new avenues for thinking. Arianna Economou of Dance Gate arranged for me to stay in a house directly on the green line that separates Greek Nicosia from what they call ‘the other side’ or Turkish-occupied Nicosia. Having a checkpoint directly outside my door, hearing the call to prayer from the Turkish mosques, seeing the rubble of bombed buildings and the guns of young soldiers reminded me how fraught the encounter with otherness can be.

And yet I was also delighted to find that the no-man’s land of the green line has created a haven for plant and animal life that has a protected corridor across divided Cyprus. There is space for growth and possibility in the fissures between people.

There were many practical benefits to being in Nicosia too. Because the conference was supported by modul-dance, there was a gathering of the partners there. It was a bonus to be able to meet many of those people to whom I’d scarcely had a chance to talk when we first gathered in Lyon last year. Because I spoke at the conference, I had an opportunity to explain a little more about what motivates my work and it felt that this extra information was useful in letting the partners get to know me. With the partners who are supporting the residencies and tour of Tabernacle in November, it was much more concrete to be able to talk through face-to-face the details that we have discussed by email a dozen times.

It was also inspiring to see the work of fellow modul-dance artist Alexandra Waierstall. The extract from Mapping the Wind that I saw made me want to understand her process and priorities. We’ve only just begun a conversation but it made me realise how keen I am to understand the work of all the MD artists and what a pity it is that the opportunity to do so is limited to these chance crossings. These opportunities for exchange between artists and MD partners are what I hoped would come out of modul-dance but it was luck that made them possible in Nicosia. The research module wasn’t supposed to turn out like that. I had intended to do it in the Spring. But having this time to think after an intense creation process, to be stimulated by the environment and the conference delegates, to meet fellow artists and MD partners was very beneficial.

I look forward to the next phase of modul-dance activity when we undertake residencies and presentations of Tabernacle this November at Mercat de les Flors, Kino Siska and The Place.

Tânia Carvalho is from Portugal and was proposed for the modul-dance project by HELLERAU-European Center for the Arts in Dresden. In the framework of the project she created Icosahedron, an impressive piece for 20 dancers.

More modul-dance videos on Numeridanse.tv.

“He got his strength up flush and in full glitter…” 

(“Tundra” by Emma Martin Dance – Dublin Dance Festival, May 2014)

Photo by Luca Truffarelli/ © Emma Martin Dance 2014

Tundra

In a nameless land, where there’s more darkness than daylight…he sat in the long white hut, at the table, tapping /his mother sat at the back of his mouth and the black sun was born/ the black sun was born…

Tundra is a wild and dangerous place inhabited by a cast of outsiders, where tension and absurdity simmer and the unseen world stirs. Reality and fantasy blur as the characters meet their darker selves and strive to escape to an imagined future filled with hope and possibility.

Summoning beauty and transformation, Tundra explores the antagonistic relations between darkness and light and the poetry of heaven and hell erupting in and around all of us, via folklore and surrealist cinema. Emma Martin Dance presents a bold and ambitious show which will open the 10^th Dublin Dance Festival, featuring an exciting blend of theatre, live music and dance.

"A nameless land, where there’s more darkness than daylight …"

("Tundra" by Emma Martin Dance - Dublin Dance Festival, May 2014)

Photo by Luca Truffarelli/ © Emma Martin Dance 2014

The Italian artist Alessandro Sciarroni was selected for the modul-dance project after being proposed by Centro per la Scena Contemporanea Bassano del Grappa. Here, an interview with him during the research process of his project: UNTITLED_I will be there when you die.

In September 2011 Anne Juren and Roland Rauschmeier wrote the following text regarding their experience within the modul-dance project. They have developed the project entitled Tableaux Vivants, where the art forms interweave and allow hybrid relations to develop between the paintings, sculptures and videos and the bodies of the performers.

Within the frame of the modul-dance project, we worked in three different locations (Faro/Portugal, Poznań/Poland and Ljubljana/Slovenia) on the conceptualisation, ideal configuration and technical translation of our idea for Tableaux Vivants.

During our stay in Faro, the composer Johannes Maria Staud gave us a compilation of his works based on the suite Berenice so that we could take some initial decisions on the choice of music. We also developed a comprehensive mind map that included socio-historic facts, artists and relevant eras for our performance. The southern atmosphere and some very pleasant and spacious studios made Faro an ideal place to work and make an in-depth study of concepts and ideas in a relaxed way.

In Poznań we analysed our artistic stance in the context of plastic and performance arts so that we could establish the underlying structure of the piece. We decided to develop five thematic groups on Europe’s cultural development, using an approach that spanned several, bringing them together in terms of space and performance set-up.

To do so, we stuck to the time sequence of the themes, starting with the wall paintings of Lascaux caves and moving on to the origins of central perspective in the Renaissance and the optimistic abundance of the Baroque. In the fourth part of our artistic research we hit upon the idea of reinterpreting the Oskar Schlemmer and Bauhaus Triadic ballet. The last part tackles the problems of giving today’s artistic output validity and meaning in relation to the media cannons and their inherent evaluation. The choice of each cultural era is tied to personal experiences, such as a trip to Lascaux or extensive research into the influence that Bauhaus has had on the artistic development of Juren and Rauschmeier.

In Ljubljana, during a relatively initial stage of the project’s conception, we were able to work on the lighting for the definitive performance. This allowed us to dedicate more time to experiment with the inclusion of several media and genres with our performers.

We also made the final musical selection, by this point Staud had already made four versions. We would like to emphasise Johannes Maria Staud’s openness and interest in our work and how he adapted to our – ever changing – way of creating. From a musical perspective he accompanied and complemented the development of the piece. In the woodlands around Ljubljana we organised a photographic session in which we researched the "Bauhaus party” of 1924. This session also led to a number of videos and important ideological considerations for future projects.

In short, without the modul-dance project, we wouldn’t have had access to the conditions and resources necessary to create Tableaux Vivants. We hope to be able to bring our performance to as many project participants as possible!

Picture: © Angela Bedekovic

The second part of CoFestival will take place between 21 and 27 September 2013. This second round of the festival organized by Kino Šiška Ljubljana will be launched by the 3D film PINA by the German cineaste Wim Wenders, a sensitive homage to the unforgettable dancer and choreographer Pina Bausch. The film will be followed by the already traditional FičoDrom, intended for everybody who misses opportunities to dance.

Programme highlights include the first public presentation of Jurij Konjar’s piece Still (23 Sep at 9pm, Kino Šiška), the show Au contraire (based on Jean-Luc Godard) by the prize-winning Geneva-based artist Foofwa d’Imobilité (24 Sep at 9pm, Stara mestna Elektrarna), The Seagull directed by Tomi Janežič and produced by Novi Sad Serbian National Theatre (25 Sep and 26 Sep at 6pm, Kino Šiška). All shows will be followed by artist talks.

The Festival also promises the Vertigo dance workshop run by Eduardo Torroja, a member of the renowned Belgian group Ultima Vez, a research-art project of the Frankfurt-based dancer and choreographer Lili Mihajlović, and visiting artist Antje Pfundtner.

During the festival, the daily programme will be complemented by the festival team joined by many international artists having a go at The Art of Co-Living, a programme running in the Museum of Contemporary Arts as part of the Triennial of Contemporary Art.

For detailed information visit www.cofestival.net.

SÂLMON< festival starts its second edition. Mercat de les Flors and Graner remain committed to talent, to creators with new proposals, artists with fresh ideas, European and, sometimes, going against the current. A look at local and international artists in the framework of the artistic residencies offered by Graner, centre for dance creation and the European modul-dance project. A busy programme of events lasting two weeks, with different formats and diverse approaches to the body and movement.

The festival, that will take place from October the 19th to November the 3rd, offers a look at international creations linked to the modul-dance project. The Loose Collective will open the festival with a concert-performance about the Old Testament. Other artists who were in residence at Graner while creating their shows will be presented during SÂLMON

SÂLMON< aims to consolidate itself as a space that gives visibility to different ways of understanding choreography. The festival includes shows, laboratories for professionals, spaces for reflection and spaces for meetings with the public.

More information: www.salmon-dance.com

In May 2011, Tina Tarpgaard published this article in one of the modul-dance newsletters. How does she work as an independent artist in Denmark?

In the fall 2011 I will start the first residency as part of the modul-dance project. Together with my group of dancers and software artists (recoil performance group) I am invited to spend two weeks in the excellent facilities at the Tanzhaus NRW in Düsseldorf. Later we will travel to Ljubljana to spend a week researching in collaboration with the innovative dance house Kino Siska. Both giving us a great opportunity to work focused with the concept we have developed as a base for our new production Living-Room. The performance will be produced at Dansehallerne in Copenhagen with the premiere on March 10th 2012.

The advantages of moving yourself and the group you are working with, to a place "away from home" are many. I think most people know the feeling of the intensity that can buil within a group when you not only work together, but also have a mutual experience of new sorroundings, finding your way together, get lost together, dining together. etc.

It amplifies that feeling of a journey and ties connections that are priceless in a working process - at least to me.

But of course you don't move yourself just for the comfort and team building. The challenges and inspirations are equally important. So the prospect of meeting professionals from different arts communities is exciting, both professionals I usually work with but also to meet different approaches.

For example: The way our support system in Denmark is put together (as well as the habits and traditions I suppose) makes it quite rare that choreographers have the means for close collaboration with dramaturges. I believe that this can be unfortunate for the artistic processes and eventually for the performance that is presented to the audience. I am therefore excited to have the chance to meet and collaborate with with dramaturgical professionals at Tanzhaus NRW. In Ljubjana I will have the chance to meet and collaborate with local dancers, a great source of inspiration for me and the group.

Recoil performance group, with whom I usually work and create performances, has a quite specific interest in the collaboration between dance and software art. The amount of work that goes in to this collaboration is usually quite substantial and of high significance to our productions. Therefore I am hoping, that besides meeting dancers, choreographers and dramaturges, I will have the chance to meet professionals from the visual art, video and software art communities. More over I hope to get the artist from the different ways of creating performing arts, to meet each other. This could be in showings, roundtable meetings or other situations that could facilitate dialog, exchange of experience and ideas etc.

Already being part of the initial meeting in Lyon, late summer 2010, it struck me (not surprisingly) that the production habits, economical support structures, level of intervention/collaboration between dance houses and artists etc., are significantly different in between the European countries represented in the modul-dance project. I hope that by visiting both Tanzhaus NRW and Kino Šiška I get at chance to get a deeper understanding of the structures there and how it affects the work of the artists, the audience building and the general working and presentation frame of performing arts.

Working as an independent artist in Denmark has caused me to raise a number of questions to how our structure is put together. For me the participation in the modul-dance project is a great opportunity to seek inspiration and exchange experiences with houses and artist communities on both the creative process as well as the structures that we as independent artist are surrounded by. Especially as the project spans over all the different steps of creation: research, residency and production/presentation. I find this very valuable and hope to exchange constructive ideas that can facilitate the development of artist communities as well as personal development as a performing artist.

Picture: © Søren Meisner

CoFestival is three festivals in one: modul-dance, Ukrep and Pleskavica. Under the title The Art of Coliving, Kino Šiška Ljubljana presents its second edition, that will take place from 17th to 21th June and from 21th to 27th September.

Under the umbrella of the modul-dance project, the event will open with Marcos Morau/La Veronal and their recently premiered Siena, a reflection on the conception of the human body, used by the artists as a container and projector of meanings, as well as an exploration of the history of Italian art in a journey that begins in the Renaissance (17 June).

Mixing digital arts, urban and traditional dances lil'dragon, piece of the modul-dance selected artist Eric Minh Cuong Castaing, will propose a sensory experience toward a feeling of future, physical and imperceptible (20 June).

The program also includes a new edition of the ShortDanceFilms, a film screenings curated by Núria Font/Nu2's (18 June).

In September, one of the last modul-dance selected artists, Jurij Konjar will premiere in Slovenia his new piece Still.

The complete programme includes not only dance, but also workshops, theatre and dj sessions.

www.cofestival.net

An Kaler will be presenting Insignificant Others (learning to look sideways) on 16th of October 2013 at RMNSC Krakow and on 22nd of October 2013 at STUK Leuven.

What are ways of distributing, or partitioning, or fragmenting presence when being together?

Insignificant Others examines the Tableaux as a shifting structure that diplays the process of the performers co-operating in modes of conducting, structuring and shifting a shared topography of physical presence and absence in fragmented cycles of movements.

The performers are as spectres and carriers of ambiguous images, still and fluctuating. A series of discontinuous but interconnected still postures that make images and situations between the performers but never quite build a shared narrative. Rather than a dramaturgy of determination, the artists are simultaneously working alone together as if in a field of energy that needs careful management, redistribution and direction, here they are making a dance out of the reabsorption of this energy field into the bodies of the empty space, themselves and the perception of audience. Harboured in that which is deemed unaffirmative pure potential is what is performed.

Picture: © Eva Würdinger