MODULE von/für IDEAL PARADISE
2 persons in a dialogue outdoors; shouting as a "conversation in distance" (at least 15 meters)
the dialogue can start close-by, but it would continuously span or directly emerge in distance. at high frequented places, where the positioning spatially includes the other visitors.
following a topic and a script – content and rhythm
- order of knowledge, collections, cultural projections
- territory and appropriation
- ideology and terror
- anthropology and erotic racisms
- perceiving objects
- ritual, fetish und other social systems
long lasting and alone – at exposed spots
a solitary immobilisation or confrontation of a person with the public space.
alone at a public space spreading an emotion
an ongoing infection of the other users of the space
generating and initiating actions
through duration and occupation of that space. therefore diverse strategies exist.
in a countermovement
an artificial sequence of movements in a clearly different informed space that inquirescleaarly different movements and doesn't support or even allow that kind of choreography. those choreographies could be developed through different relations according the respective spaces, and they also could be compiled or implanted from one to another room.
probably alone or together as a synchronous chorus (addressing a distinct direction) or several people simultaneously with different perspectives.
with actions and speeches.
a lonesome and powerful opposite standpoint that articulates itself through speech and gesture and agitates the listeners and present people.
RE - EN - ACT
re-enact art actions or acts of activism you find relevant
the re-enactment happens alone, even when the original act was done by several people or even thousands of people. the impossibility would be the condition of this re-enactment of art actions or acts in art or activism.
POSITIONING with MEASUREMENTS
be where you are - conscious with your muscles and mind.
choose and take a position in space as an attitude, a perspective. be activated with your mind, your concentration, and your muscles. receive information from this spot. stay for the enitre duration of the module on the spot of the position. you can turn, move around or shift the body to different levels on this position. from there, measure or relate with different parts or articulations of the body towards concrete buildings, constructions, elements, objects, vehicles or plants in the space. you measure or relate with your body towards different consistency of appearances in the space. do not become a sign, but stay liquid and active in any relation.
take a position in space, anchor your presence (have a look at module 7) and shift permanently the relations to which you organise your body. it's a high speed relational choreography searching for movements which are related to things outside of your body but which resonate in your body. it is a state of movement.
ACOUSTICALLY INFORMED MOVEMENTS
a dynamic movement of the body in space. starting by positioning on a spot in space. let the body be moved by all acoustic information and let your body follow the dynamic of the sound, or produce sounds by yourselves and let the body be moved by this. the movement is in both cases the reaction to the sound.
PLANTS IN THE WIND
take movements from plants you observe in the urban space and transform them into your body as dynamic, gravity, rhythm and direction in space.
MARKING / CONSTRUCTING A TERRITORY
marking space, fragment space, establish constructions, shelters, taboo signs with objects or with the body
and use the body inhabiting your constructions.
marking the space is not about the result, but about the rhythm and act of constructing a territory. the time, the interaction and the trace of your acts in objects are interesting.
imagine the production process, the journey and the experience of an used object. create a narrative from the perspective of the chosen object.
intertwine descriptions, facts and fictions.
INSERTING your body and producing DIFFERENCE (or disappear and reappear)
insert your body into the functionalities and accepted practices and habits of a space.
become "invisible" or "normal" in this space. from being with the others start to create differences.
allow the difference to stand for itself and transform your appearance and behaviour back into the "normal" registers of madness that is inscribed in each space and its functions.
INTERCHANGE bodies / movements
work with material you have found and you have experienced in a particular informed space and transpose its movements, rhythms, relations into another informed space.
CREATE SITUATED BODIES
convert bodies from photographs or paintings and reconstruct the relation between the photographer (painter) and the photographed bodies. take the gaze of the documented body to the viewer and recreate the relation between the viewer and the person being viewed in the actual space between you and the people using the space. the tension and organisation of this pictured body is the material for movement and the converting from your actual body tension into partly and sequential the information you get from the photograph, as well as infiltrating the situation in the actual space towards the situation you get from the image. (an assaulting strategy, mis-use)
NARRATE AN IMAGE
or imagine yourself actively in an image
or describe an image by the relation between bodies, objects, space
step in the image and the body and object relations as an imagined acting body with (sexual) desires. the image is the starting point for the imagination of a listener, for this aim you structure your language.