which dances in progress was developed during an artist in residence at Jot12 / Seelab, June, July 2020.

The aim was a performance research to investigate different relations of the figuration of Medusa and material-semiotic entanglements with aluminium.
How can human and non-human actors work together? Which kind of space and performativty can emerge through this question?

We developed a work in progress of a choreographic assemblage to unfold new relations and kin-ship between subjects and objects and to discover new narratives.

which dance in progress, Jot12, August 2020. Photo: Sabina Holzer

The complex myth of the Medusa is a metaphor that stands for experienced violence. Often portrayed as victim and monster, Medusa tells in many ways about transformation, possibilities of protection. As a figuer she meanders between human and beast, between live and death and gives birth incomprehensible materials and imaginary beings (corals, pegasus, etc.). As a mighty Gorgon she supports the attempt and effort to get in contact with materiality, the earth, bodies etc. to disover different realtions and connections. In this sense, which dances in progress not only follows the powerful call of Hélène Cixous in the 1970s to create and affirm places for the laughter of the Medusa, but also freely explores Donna Haraway and Isabell Stenger’s thinking as a radically materialistic practice.

We were dealing with the everyday use of aluminum and collecting its remains: aluminum foil, packaging material (coffee, tea, chips, chocolate) as a poetic reference to a valuable raw material, which is such a integrated part of our everyday life that we hardly notice it in its preciousness and the ecological impact the production has.

which dance in progress, Jot12, August 2020. Photos: Sabina Holzer

which dances in progress opened 3 days for visitors. It unfolded as a processual space in which the visitors became part of the assemblage and choreography simply by entering. 

With them, sensual materials (such as aluminum to be touched), as well as cognitive (such as reading material) and performative (such as dance, performance-lecture, talks) unfolded their presence and gave the visitors the opportunity to choose their form of presence: to observe, to read, to exchange.

 

  which dance in progress, Jot12, August 2020. Photos: Jack Hauser

which dances in process Dance by Sabina Holzer