New Configuration

Creating a sound proof environment in the common space of ALTA, made a new configuration of the identity system necessary.
We can no longer perform a guided tour to the exhibition.
There is no exhibition, actually.
We will create a space in the space, a box, a singular object including our installations.
All performative characteristics are delegated to this new box, transforming the exhibition into an Installation where the spectator has to navigate himself.

New configuration – new site-specific identity: You can never know before it’s over!

Bazaar @ ALTA Prague

The “White Paper” @ the L1 dance festival – Budapest

Some parts of the research we presented in Poznan where also set up in Budapest during the L1 dance festival, in September. The Installation was moving each day at a different venue, Bakelit Studio, MU Theater and Trafo.

It was interesting to see the same main “ingredients” creating a different formation each time, according to the specific characteristics of the space in use, and it definitely suited our research! I went there to set up the installation, and it was very interesting being in Laszlo’s surroundings. It made me understand him better.

“How to perform an art exhibition” @ Art Stations Foundation

Manifesto #1

What are the mechanisms of identity formation? Is the process conscious or not? Can human subjects control it? Could it’s construction be life-long, the same way Castoriadis presents the notion of “education”? Judith Butler would tell us that the never-ending process of identification belongs to the imaginary, while the identity -or the multiple identities- one assumes, are discursively constructed , within a play of difference and exclusion. Laclau, affirms that the constitution of identity – social in particular- is in fact an act of power. The ontology of identification has been re-conceptualized through postmodern psychoanalytic, feminist, social, cultural theories and philosophy. It is believed that the differentiation of post-modern to modern times is the quest for “open options”, for the “recycling” of the elements one adopts -or consumes as commodities as parts of their identity, in contrast to the concrete “self” modernity was praising. If we may address the era emerging right now as Alter-modernity, using Bourriaud’s term, then the contemporary nomad, the “radicant”, excludes from his identity all ties to geographical borders and positioning, forming a self that can exist and integrate in presumably all contexts. Call them flâneurs, vagabonds, tourists, players or radicants, the human subject’s pursue of “belonging” is an infinite journey, towards what one cannot really have, through the fragmented and discontinuous human relationships. And however identification is articulated, this theatrical representation of the self is stated in a series of everyday practices, that we have come to recognize as a kind of “performativity”.