CAN WE DANCE TOGETHER? (P.A.R.T.S., 2017)
What is the in-between dynamic facilitating shared creativity and understanding of knowledge?
Is the group-performance an accumulation of different solo and medial performances, different artists accompanying each other? I hope not. Acknowledging that the imaginary unavoidably is a potential that is without, instead if within the body and thus offers the possibility to be created in (multimedia) collaboration. It thus relates to, it is in-between that adheres to a rhetoric of flirtation.
The rhetoric of flirtation focusses on understanding the performance of a social inter-relational practice. It is not about seducing, winning or gaining the other but rather about the pure play of desire without end or as Kant would put it „purposiveness without purpose”. The research looks into the relation between the rhetoric of flirtation and the dynamics motivating shared aesthetic experiences.
“Flirting is purpose-ness without purpose, the turning of doubt and ambiguity into suspension, to create possibilities of transgression, a disinterested pleasure, simultaneous consent and refusal, a turning toward whilst turning away, being busy with peripheral things, a playful immersion, a silent pact, the power of not deciding, an indirect or shared obsessions, the desire to extend the present moment. Flirting is what is already in play, a form of being passive and active at the same time, making no necessary connection between the performance and the attitude, a gesture of the grasp that intensifies reality, meaning something that is incoherent, to touch a thing in passing, sterile pleasure, a copy, the connection between excitement and uncertainty, …”
Research in collaboration with a group of 10 artists (dancers-musicians) and at the core of the performance ’ALMOSTEVERYTHINGHAPPENS’.