ACTUAL
notes
mortar & pestle
CONSTANT CLIMAX
dalok
dance undivided
As for writing about the work mostly goes as far as naming things - and that should be done in a gentle manner as words are sticky and sensation slippery.
Links of interest
artist statement “2’0’X’X’
ut supra, sic infra
dance as means of connection
dance as an organizing force
dance as beauty
dance as reluctance
dance as being
dance as tracing the trajectory of attention – stretch the self-aware sun and moon
praxis and theory
craft and philosophy
sun and moon lightevery practices creates its own metaphysical universe
25’
dance as means of connection
dance as an organizing force
dance as beauty
dance as reluctance
dance as being
dance as tracing the trajectory of attention – stretch the self-aware
sun and moon
praxis and theory
craft and philosophy
sun and moon
light
every practice creates its own metaphysical universe
The act of pressing, shifting, and responding to tension mirrors the act of composing movement in space
vertical and horizontal means of knowledge
knowledge as
- experience – an often sensory phenomenon that is perceived and upon memory, recalled
- information – rational information, mostly inscribed in words or language
- insight – an intuition on where one’ll find something
- wisdom – inherently informed
- location / navigation – where to look for something
there is a dual focus on
1. tradition – the master-apprentice relationship
a. Éva Karczag may give me a set of exercises
b. Thomas Hauert may teach me tools for improvisation
c. Martin Kilvady may enkindle a joy of movement
2. praxis – individual venture into the empirical – the notion of experiencing the experience
a. a bodily sensation
b. a specific type of pain in a specific bodypart
c. a psychedelic trip
discern the philosophical aspect
- writing I lyricism I experientiality I words
and practical aspect
- doing I experiencing change through doing I experiencing rupture through doing
>17’
24’
Dancing is simple.
Anyone with a body may experience dance.
Accessing dance has many ways – each being precious and unique. The multitude of dance styles and movement practices fascinate me.
Dance is used to experience being.
Dance is used to express being free. Or to express being anything one can imagine; thus, dance is a tool of imagination.
Dance is a spectacle.
Dance is an experience.
The spectacle of experience, the experience of spectacle.
I like to dance and I like to see other people dance.
Dance is an unknown artifact: a mystery object, that through various means shuts down the cognitive machinery. People don’t always understand it, and they don’t always have to.
Dance generates the unknown.
As a maker, I create situations where dances may thrive.
As a maker, I invite participants – performers and spectators, to be.
Dance is corporeal fiction.
As a teacher, I facilitate access to dance.
As a teacher, I provide tools to navigate the experience of dancing.
Lately I’m busy with the tactile: through the rigorous enquiry on touch, proximity fosters care and deep empathy. Skin is a membrane sensitive both towards inwards and outwards.
I am perplexed by the multitude of perspectives this organ affords.
In my work I scent towards the substances and traces that reveal themselves when Dance occurs. Those endo- and exocorporeal items that we can grasp – and the ones we can’t.
I’m fascinated by Dance: a self-indulgent, wilful and whimsical substance that strikes a clandestine pact between all biopolitical parties.
deep empathy
corporeal empathy
sensory empathy
Parasensory experience
Dance is fiction of flesh,
Dance is a phenomenon,
Liminal agency
Dance is both means and ends to me:
Dance as an alien logic for the dancer to embody.
Dance is an engine for generating unknown
23’
Klingon warfaces, foreign tribal territories, xenonatural phenomenae, alien artefacts. Dance.
Understanding is often in the way of being.
I strive to create artefacts of the unknown. Mystery objects – participatory experiences, that through various means shut down the cognitive machinery. In the fifteen years of my artistic career, dancing has always provided me with a multitude of practices to engine this process, to generate unknown.
This is a xenopositivist reading on Dance. Dance is both means and ends to me:
c Dance as an alien logic for the dancer to embody.
x Dance as a foreign landscape for the spectator to wander.
In my current artistic quest, I inquire towards the substances and traces in materiality that are present when Dance occurs. Those endo- and exocorporeal items that we can grasp – and the ones we can’t. I engineer multi-sensory experiences where said inventory may communicate itself. Lately I’m very busy with the haptic: through the excessive questioning of proximity, I wish to dismantle the tactile treshhold between the audience and performers.
Let us observe, praise and celebrate the uselessness of dance - it withdraws from attempts of harnessing, it can only be hijacked, yet it’s unclear, what hijacks who.
Essence is everything. Essence is absolute. What is the absolution of dance? Narrative is truth colonized. Fuck that and intervene. Dissolve and disorient.
Dance is high-octane total set-myself-on-fire airborne machine gun overkill. Burning 19000 K/Fahrenheit, bulldozing fact and fiction. Dance is rabid. It's dangerous, untamed and vicious. The wet dream of a better selflessness. Are you at the loose end of the strap?
Fuel yourself.
Research is a transformative process: it generates knowledge by transforming “the unknown”into
“the known”.
- 47 -
20’-19’
dance provokes freedom.
freedom of a radically personal interpretation.
freedom of choice on which level and layer to participate in the event of dance.
being the kaleidoscope of sense and senses – leaving audiences baffled – Dance invites you to a participation in co-creating a common artefact; the performance/reality.
Dance is a spectacle.
Dance is a force of nature.
Dance is non-organic – it deconstructs the obvious. It disrupts “the natural” (this loses sense in the Anthropocene anyways) way the body wants to move.
It is artificially organic – reconstructing patterns according to the knowable and to the unknowable. Along the coastline of composition, aesthetics and personal style (=idiosyncrasy)
Organic: A term often appropriated by the capitalist mode of production or personal fitness trainers.
Reclaiming organicity in order to immediately surpass it – to arrive to a post-organic dance. Complexity, idiosyncrasy, sensitivity, agility, accessibility.
Artificial Organicity: Re-assemblage/Re-assembly
Deconstructed bodies rejuvenated, washed their very many facades in movement.
The appreciation (appraisal) and encouragement of dance in itself.
In this sense, dance is no subject to human expression; it is not a carrier, but tour de force: a series of phenomenae that celebrates its own existence. Dance does not ask whose body it commits itself to. Is that a human body? An animal’s? Leafs in the wind? Dance needs no distinction, it seeks recognition.
I feel invited to a broader sense of thinking on dance. A thought that is not limited by the self-interpretations of human beings (neither in a social, nor in a biological way). Dance unlimited, if you like. I firmly believe that every technique generates its own metaphysics, its own thought.
So lay at the feet of the gurus of not knowing.
dance is never to become the vehicle of expression.
dance is to remain dance.
dance is to become dance.
dance is to become being.
18’
people are addicted of making sense.
you are addicted to make sense. (I am as well)
you are making sense right now.
my dancing is my tool of transgression beyond this grotto – it’s a portal to traverse the cognitive machinery. I consider dancing a way to become a multi-dimensional object – not only in a sense of time-space coordinates however prominent and present of an aspect; but in the multiple interpretations of the self.
in the expansion of the self
– in my dancing I am not a singular being.
dance is an event.
dance is a force of nature.
I crave for not a dance of sense, but a dance of senses.
one to awoke a strong instance of feeling human,
one to dismantle the illusory feeling of being human.
in my current artistic quest, I inquire towards the substances and traces in materiality that occur while dance happens. those in- and ex-corporeal items that we can grasp – and the ones we can’t.
how does dance afford me?
dance is complex,
dance is complete.
dance is concrete – it is always itself.
dance is.
17’
As a young creator I strive for bold works that question and canonize dance at the same time, accepting that the act of dancing is worthy enough for our full attention: that it needs no further explanation, that dance is only about dancing. Currently my interest pushes me towards the topic of dance’s relation to the dancer’s subjectivity and the way that connection may become a fertile ground for interpretation for the spectator.
* * * through the deployment of
poetics * * *
* * * we strive to create an alien logic * * *
* * * that is our first step towards post-humanism * * *
* * * we strive to create an alien logic * * *
* * * that is our first step towards post-humanism * * *
For we are a new generation to fantasize about dance. We shall take and devour anything that'd fit. That slightly catches our attention, lending us power and surface. Dance will prevail, dancers like locust: Vicious.
We are to observe dance as idiosyncratic mannerism: As something that grows out of us, but is independent, organic yet alien. Dance is shivering on the skin of the dancer, pouring out to open light. It shall not be contained, it needs no master, no owner. It needs a host.
Thus, dance is no product:
Dance is a spectacle.
Dance is a force of nature.
Let us observe, praise and celebrate the uselessness of dance - it withdraws from attempts of harnessing, it can only be hijacked, but it's not clear, what hijacks who.
Essence is everything. Essence is absolute. What is the absolution of dance? Narrative is truth colonized. Fuck that and intervene. Dissolve and disorient.
Dance is an ontological standard. It is. But can dance be traced regardless of the dancer? Are they isomorphic? How available can one make oneself? And who is in charge in the end?
After all, everything is only an
excuse to dance.
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