What It Does
Alice Chauchat I watch and constantly try to make sense of what I'm watching. What are they doing? But I can only acknowledge what they are not doing: they are not performing rehearsed phrases, they are not creating spatial nor time (rhythmical) patterns, they are not producing recognizable signs nor gestures, they are not establishing a theatrical nor psychological relationship to each other, etc.. The dance escapes my capacity , i.e. the tools I have in order to make sense: I constantly scan through what I know dance can be and must dismiss it. By doing this I also realize what my tools are. In the same time the performers clearly aren't just doing anything. They are engaged in a specific thinking process, a feedback loop between what they do and what they recognize in order to move away from recognition, bringing the spectators with them into the same process.
Johan Thelander Pointing at the importance of activating the user (spectator) in the production of art, by way of deviating from any possible recognition - clearly inconceivable - leaving the user with no more or less than her own imagination to construct a meaning.
Sidney Léoni "Weak dance, strong question" is about dance. The weakness of this dance is the difficulty to read it. The movement material brings us to a labyrinthine perception (are they?, will they?, shall I?), which makes us sustainable in the desire of its recognition.
Halla Ólafsdóttir I do not recognize the dance and that becomes my question...what are they doing? I look for a set of rules, a game, because I can see that they have a clear idea of what they are doing. This is what I am preoccupied with through the whole piece, looking for the key to a structure and a relationship between the two performers. By trying to avoid doing/dancing already existing patterns the piece makes me think of what patterns I fall into as a maker and also what I expect to see as a spectator.
Sebastian Lingserius For me a very interesting game who treats different questions, such as: no repetition, no composition, no theatricality, and to not stylize the dance.
Emma Kim Hagdahl They create an active listening to themselves and each other and for me. They move continues but not always fluid. They are trying things out but not with a lot of effort. It seems like they are jamming around but with strict rules of how to do it, they are moving without a visible goal but all at the same time with no hesitation, no regret and with full acceptance to themselves. They are hard working and never content but never visibly frustrated they are calm and they move on. I’m trying to read it and make sense of it by naming gestures and shapes, without very much success, but after a while I’m finding a relaxation in the dynamic of their way of doing something I yet don’t know what it is.