workshops terrify me. i don’t want to learn anything – i feel too old to be able to let anything in because after a few decades of being alive i have been exposed too much to the dubious power-relations in rooms supposedly for education and learning, i have realised that a lot of what i have learned has been some training in obedience and subliminal correction. maybe i am just another neurotic londoner, woke just enough to make some stylistic statements of resistance and passive just enough to get jobs and get by in this world that establishes and feeds off of my ‘otherness’.
point being: techno-meditations on states of being and coping with being and bodies and other people and all that mad energy i.e. some dancing, to some music, with some words to encourage, to ignore, to suggest, to convince, to seduce, to say a daily prayer that is a manifesto that is a fuck you that is whatever it needs to be
Zodiak, Helsinki 14/15 November 2017
what are you waiting for, the apocalypse?
Critique is so last year: consolidating positions, rendering opinion into currency and rhetorics into power. At the same time conviviality, ‘all inclusive’ and everything goes ain’t gonna change a thing.
And movement is inevitable, whether we like it or not. How do we deal with this?
This intensive offers some time and space to exorcise constipating pseudo-agreements, perform opinionated and judgemental analysis of performances, indulge in abstract movement practices and try not to fear the impact of collision.
29th and 30th July 2017, ImPulsTanz, Vienna
Can working with video create new ways of seeing bodies, articulating subjectivities and accessing cyber-virtuosity in movement that can begin to re-articulate assumptions of dance in relation to liveness, labour and intimacy?
Is there some potential in the friction between the immediate and ephemeral act of movement and the manipulations of recording, compositing, editing and effects?
Working with video as something other than documentation that fetishises liveness, is there space for physical urgency and spontaneity equal to that of live performance? Can the camera get rid of the problem of seduction in the moment of performance?
What is it to prioritise the camera eye as audience – and its contrasting, non-human inclinations – in terms of staging, light, backdrop or proximity?
What is the process of depersonalisation that takes place between you and your body once it becomes material on a screen, and how can this be a useful tool for getting over and into yourself?
A workshop designed to explore relations between movement and digital moving image placing emphasis on style, surface and intuition rather than narrative or meaning production – considering fragmentation as a place of meeting and obscurity as hope for seeing another way through.
– workshop with David Panos, ImPulsTanz 2016