july 20 <> 26
the 2020 IDOCDE residency and symposium
April, May, June
in residence at Konstnärsnämnden with Alys Longley. picking the work up from where Skye Reynolds and I left it.
Alys and I will look at the activity that is transforming the virtual into the material. here's an excerpt from my application to Konstnärsnämnden:
What decides green from blue? is a metaphor with which I am trying to target a hypothesis: that a stereotype–e.g. “Dancing expresses things that cannot be expressed in language.”–has been preventing dance artists from developing deep & critical understandings of the practice of dancing, and the language with which to communicate how knowledge developed within the framework of dance studies is relevant in always contemporary (and especially: today’s) socio-economic climate; particularly informative to organising movements towards social justice and change.
My aim is to start with the premise that language can, in fact, express what dancing can express, albeit in different ways. The question is: how do these ways differ? Methodologically, for example. What is similar between the experience of deciding “to arabesque” (in dancing) and the experience of deciding “green from blue” (in writing or drawing)? There is also the question of aesthetic value and legibility (culturally speaking) which I’d like to examine: who can recognise an arabesque from a leg raised behind one’s back, and how does that (awareness? sensitivity?) influence the dancer’s choice-making?
speaking on UTOPIA at the Bucharest International Dance Film Festival.
Much of my thinking these days is engaged in the attempt to explain to myself the extent of the influence Descartes and his work on what is popularly referred to as the theory of the mind-body split had on the way in which standards of value become defined and successfully upheld in the context of the neoliberal and colonising, culturally white west. In this talk that I was invited to give, I will try my best to present evidence of the way the theory of the mind-body split is integrated in the white western cultural canon by portraying the way the theory manifests in practice, in the assumptions that cultural white westerners traditionally make, for example, and/or in the way in which cultural white westerners traditionally jump to conclusions. In other words, I will be attempting to tell the story of how I think a theory that discriminates against the body became not just embodied (!) but embodied as a dominant global culture whose practices are competitive, anxious, self-centred, object-oriented and obsessed with power. This is the story of dystopia, one we’re all – I’m sure – already intimately acquainted with.
The reason I’d like to tell you the story of dystopia is because deep within its folds lays hidden another story, the story of utopia. This is the story of an integrated dynamic between the mind and the body; the story of embodiment in which reality is not measured in “hard facts” but is a matter of negotiation, participation and motivation.
If utopia (this is a mind exercise), folded within dystopia, exists in the state of a seed exists in relative to the soil inside of which it is buried, my hope is to be able to suggest what it is that we need to know, what elements there are that we need to be able to relate to in order to encourage utopia to sprout and grow. This is the final story I'd like to tell on this occasion, this is the story of gardening.
The Physical Consequence to Knowing at Mapping Dance and Dance Teaching: Past(s), Present and Future(s) conference at University of Roehampton
letters to process, edited by anne vigeland, launch in tandem with the rerun of linda blomqvist's selma
Graphic design: Abudi Alsaleh.
Participating artists: Diana Agunbiade-Kolawole, Liza Baliasnaja, Linda Blomqvist, Tim Høibjerg, Inez Jönsson, Rebecca Lindsmyr, Theo Livesey, Natasja Mabesoone, Stina Nyberg, pavleheidler, Pontus Pettersson, Nicklas Randau, Adam Seid Tahir, Eirik Senje, Elinor Tollerz Bratteby.
Letters to Process has been published as part of a degree project within the International Master’s Programme in Curating Art at Stockholm University.