Depopulated + Disconnected + Unlimited = Uprooted performed at The Momentary, Inverse Performance Festival 2021
What are the automated collective conditions of a live experience?
What elements are creating sufficient opportunity to disrupt societal behaviour?
What is the in-between state between primal instinct and civilised premeditation?
Bodily and mind mapping are the pillar of my process. I cultivate epigenetics exploration to assemble or/and reassemble a natural territory to colonise, together. When the audience and I are sharing the space, grounded, I infuse and diffuse intimacy. A biodegradable lexicon planted to harvest cultural factors.
This is the theory, not the reality, I suppose.
Improvisation can be a choice, but in my case, it is a case of being. I do not script, write or design my live art collective experience as a premeditated act. Therefore suggested equality and experienced equity are a work in progress dialogue between the subject (the artist) and the object (the audience).
I try to live the moment but, by doing so, I do capture and degrade it, surrounded by living witnesses and inanimate technology.
Even a non-intentional stream of consciousness constructs a paradox when documented.
The documentation of living organisms remains a hierarchical mechanism delimiting a reality. It also institutionalises group dynamics and oddities. There is no such thing as free will inside a live experience divided between a time in movement and a fixed one.
The audience should be a natural anchor able to move the needle while the artist is exploring its crochet mapping. This synchronicity or asynchronicity is a pivotal indicator of life within liveness.
Meanwhile, I do not expect an incremental change to the value of liveness because of democratic participation. The ritualistic characteristics of liveness are anterior to and more visceral than a political system. Voices, words, and Greeks are obstacles that explain instead of showing.
Physical and digital designs are already establishing a model of conversational interactions as a currency to legitimise the dimension of emotions and opinions as absolute and final.
Art spaces used to preserve narratives of “untold” and “unseen” until smartphones extended the mobility and viability of a filtered experience. From the nineteenth-century European museums’ war to the GAFA agenda, “faith in something” serves as a placebo for order.
As such, an organized confusion must shift from an unexpected variation to an unprecedented transformation. Is the audience inside a live art experience a part or the center of this mutation? Are those decisions conscious or unconscious? Who is in control? The mind? The body? Both?
When ideas, ideals, and beliefs are intertwined, they sculpt the moment of liveness, materialise the artist's definitive and ephemeral form.
But what about accidents or the artist’s misinterpretations of the representation of reality?
My decisions have the limits of their execution. Even a primal ritualistic and collective live art experience can't encompass togetherness. Bodies and minds should be treated as a part of an organism and not as a possible design block. They are already segregated by textile and fashionable injunctions. And never-ending gamification of the politics of bodies accentuates isolation, not differentiation.
Assuming that the audience will have the functional properties of my process is absurd and potentially abusive. Bodies within corpus should accept and echo a process if its accountability is above its original intention, not the contrary.
No one should be left behind, or it becomes a design.