Unofficial Unworks at Berlin Biennale (2022)  

Next Unchoreography session at Dance Academy, CNDB Bucharest, April 5, 10-14h.


Notes on Unchoreography:

From everyday actions, to contemporary dance and performance, the default perspective is of a body as instrument, as tool. We control and put our bodies to do things, to work, to create images, to express ideas, we discipline and choreograph them, and this pattern extends to nature and entire reality. Dance is focused on movement and entertainment, visual arts on objects, images and discourse. I'm interested not that much in the body's capacity to produce content, but in the body as affect, body as medium, body as a portal towards the unknown. My practice is not centered on images but on a special body sensibility that can affect what is possible to see, think and do – is love based. It's a way of sensing, affecting or even creating the world. More than visual or conceptual, I see my recent practice as affect art.

There is a strong correspondence between the body's politics and society's problems. The default attitude is one of control and exploitation of the body – body as tool that we constantly put to work, to express, to achieve, to conform. This instrumental attitude is extended towards other people and beings, towards the environment, towards all reality. So, any deep, meaningful change has to address the roots, the embodied cultural and political, our everyday body practices and corporealities. The current horrors are all rooted in a horrible relationship with the body.

Choreography is an annoying word, a pathetic reductionism. Movement cannot be written, without losing its spirit. If you act according to scores or rehearsed patterns, you choose to reduce your behaviors to the legible, to the rational, to eliminate presence, sensibility, truth, beauty, surprise, life out of them.

There is an entire thing in art right now with performance. They say that the time of the object is gone, objects tell us nothing about the new world, now we live in a cognitive, affective, immaterial economy where the main activity is the production of subjectivity, so it is the time of experience, of performance. But, the paradox is that performances are expected to be objects, formalized, clean and easy to grasp, safe and easy to swallow, objects ready to sell and consume, safe protective walls between performers and audience – screens. They have to be controlled, choreographed until nothing can actually happen anymore, until they become safe images – audience, present conditions, nothing can affect them anymore – producing robots on stages, in galleries, in life. Performance instead of challenging the logic of object oriented capitalism, is completely colonized by it, transforming people and experiences in objects, images, spectacle.