I HAVEN’T DECIDED. SORRY. BUT I LIKE THIS ONE
2016
Performance
by Jules Fischer and Anna Moderato
Duration: < 4 h/day 24 day.
Developed with and performed by: Ingvild Bertelsen, Marlene Bonnesen, Isolde Daun, Meleat Fredriksson, Emilia Gasiorek, Snorre Jeppe Hansen, Sandra Liaklev Andersen, Olivia Riviere and Nanna Stigsdatter
Info: The piece consists of 35 choreographies and scores systematised by a hand drawn grid. The performance has no central perspective and spreads out over the entire exhibition area. The movement material is taken from the subconcious body language of everyday situations, including an awkward smile, fiddling with your hair or an elastic bands, picking at your nose, and other, more communicative, hand gestures. Each movement is developed into a set phrase from video material and thereby standardised. The choreographies are mixed with a set of scores for improvisation, such as mirroring someone’s posture or body language or eating an orange. The performance itself is highly choreographed and repetative, yet it appears improvised at first glance, thereby producing an unceratinty in the audience as to what is performed and what is ”real”. The performance is structured by a system of numbers that appears strictly logical but is, in reality, based entirely on arbitrary and subjective decisions. The piece is working with the question of what would happen if one created a norm, or standard, out of the vague and undecided, out of feelings and wishes, of the personal rather than the impersonal, in an attempt to question the social norms that we live by, and to expose their potential absurdity.
by Jules Fischer and Anna Moderato
Duration: < 4 h/day 24 day.
Developed with and performed by: Ingvild Bertelsen, Marlene Bonnesen, Isolde Daun, Meleat Fredriksson, Emilia Gasiorek, Snorre Jeppe Hansen, Sandra Liaklev Andersen, Olivia Riviere and Nanna Stigsdatter
Info: The piece consists of 35 choreographies and scores systematised by a hand drawn grid. The performance has no central perspective and spreads out over the entire exhibition area. The movement material is taken from the subconcious body language of everyday situations, including an awkward smile, fiddling with your hair or an elastic bands, picking at your nose, and other, more communicative, hand gestures. Each movement is developed into a set phrase from video material and thereby standardised. The choreographies are mixed with a set of scores for improvisation, such as mirroring someone’s posture or body language or eating an orange. The performance itself is highly choreographed and repetative, yet it appears improvised at first glance, thereby producing an unceratinty in the audience as to what is performed and what is ”real”. The performance is structured by a system of numbers that appears strictly logical but is, in reality, based entirely on arbitrary and subjective decisions. The piece is working with the question of what would happen if one created a norm, or standard, out of the vague and undecided, out of feelings and wishes, of the personal rather than the impersonal, in an attempt to question the social norms that we live by, and to expose their potential absurdity.