\ \ \ \ \ \ \ \ \ \ \ \ \ \ {{:}}

poetry
of reverberating
coincidence

“Doing things” has its origins in an attempt to attentively ‘inhabit’ performance as a certain material-semantic situation. Our interest was to make visible that every communicative situation, such as a performance, is rooted in materiality and dynamic networks of impersonal affect, which offers great potential for playfully reorganizing the structures in which we function as social beings. This perspective allows to follow more-than-human rationality.

“Doing things” is primarily a meeting. During the process people from different (artistic) fields, operating within different cultures and infrastructures of (artistic) work meet. We build common ground through the very engagement in the collaboration, commitment to the work, spending time together, sharing space, building understanding.

We anchor ourselves in the sense of our bodies as the primal experience of every living being. We lean on the fragility of improvisation, which exposes us to the unknown, and impersonal affect, that grounds us and brings the notion of ‘having place’.

“Doing things” is about this moment, when I am in a foreign place, sitting and drinking tea, observing, trying to dissolve myself in what surrounds me to build new relations, to find acceptance.

It is about this moment when I am at home with some people that I don’t know well. When they are around I am tensed. I am repeating things, like standing up and looking at the oven, then coming back to have my tea, feeling the awkwardness of all tiny movements, then standing up again…

It is about this moment, when I am exposed out there and I don’t feel prepared, I forgot the right word, I have nothing to cover with, I have doubts.

Within the performance we expose ourselves and we expose one another in continuous flux. Every activity potentially is preparing space for the other to thrive. It is about being generous, it is about being baroque and mundane, it is about acceptance. We do not compose, we co-incide.

To “co-incide” suggests how different things happen at the same moment, a happening that brings things near to other things, whereby the nearness shapes the shape of each thing.

/Sara Ahmed, Queer Phenomenology. Orientations, Objects, Others, 2006/

The material that we work with is the material we consist of. It is getting distorted, obscured, and augmented. We learn from dismantling the techniques that we mastered, our crafts, disciplines, our abilities, routines, and behaviours. We learn from repeating and pausing, attending to the details and gut feelings. We withdraw from the endless database of our bodies.

It is a part of the practice to acknowledge various strata and materials constituting our bodily devices. Microbiome, chemicals, bioplastic, an inflexional system of the native language, hours spent sitting on the chair, several ways of bending over, the impulse to look immediately at the source of the noise,….

It is the labor of moving between different scales of time and space embedded within us, trying to embrace the whole complexity of the body. Using imagination and bodily empathy, we can tune into the planetary level and feel the continuous expansion of matter, or the cellular level and feel the oxygen particle penetrate the cell membrane. How does tuning into these processes affect the pace and quality of unbuttoning the shirt, singing the national anthem at a school assembly, explaining the complicated visa application procedure,…?

This work is based on a deep bodily conviction that thoughts, meanings, and rationalities emerge in a material world and can be transformed by engaging with the matter.

It is the work of fabulating carried out by a collective body, merely by the fact of being somewhere together, surrounded and entangled.

It is poetry created by an attentive and sensual co-inhabitance of the exhibition space. Within the performance, we consciously navigate the unruly gaze. Seeing with the flash, not looking at one another or looking back in the eyes, watching the watchers, observing carefully. It allows us to expose the material-semantic tensions, rifts, frictions between the various strata and components of the situation. It is a poetry of reverberating coincidence. Stretching the time, navigating the gaze, generating the space for feelings and fabulations to emerge.