If the gesture of pouring water into a glass was repeated several times and in reverse it would get a fluid solidity that would lead to a deeper awareness whom is watching.
If we focus on the pure visual aspect of that result, we will obtain a visual abstraction (after the cross over of a decomposed vision) that wants to tell us the real essence of what we are looking at.
This dynamism of the image is the fulcrum of the investigation about the video, but if you consider the acoustic aspect of this result you get the same: if a sentence is pronounced from the end to the beginning and repeated several times, the logical sense of the sentence could be lost (that doesn’t concern us because what is relevant in this case is the sound survey) and consequently you get a more analytical listening which is the basis of the acoustic pleasure.
Repeating etymologically seems “going”, “moving to” repeated, an unceasing going to the point wich has been found and reiterating it in order to make the sought thing more like itself.
But if instead of „moving towards“ you make a „towards moving“ and you repeat it? Or rather, an “gnivom sdrawot” and you repeat it from research fields already explored?
A → B
B → A
B → A
D → C
F → E
I → H
Sounds like an alternating rhyme but it’s a whirl.
What happens in Already unmade is all this and even more.
In addition to the constant re-affermation of this question there is the presence of multiple bodies (Already unmade has been presented as a solo and as a group performance exhibition): if you add more elements to the flow of a repeated movement, what do you obtain? Can quality be more complex if quantity varies?
This dance finds everytime its own rhythm and invents a new one which will be broken. It’s the chosen field of survey and its rhythm becomes „slippery“, different “unmades” flow to each other.
Therefore the other added element is the “unmade”, this repetition into play repeats the “unmade”. Can you talk about the repetition if you repeat something unmade before?
Beyond the philosophical questions the result shares a lot with the deeper concept of duration. The result is a universe in which choreographic investigation mixes different movement surveys and makes each one getting in touch with the others by leaving the lines of his border for a movement that is again and again movement and every time unveiled.
Already Unmade is a performance conceived by coreographer Andros Zins-Browne.
It has been presented as a solo durational performance (Yvonne Lambert Gallery, April 24th, 2016, Berlin), a group exhibition (Repetition, Villa Empain/ Boghossian Foundation, May12-August 21st, 2016, Brussels), and as a workshop for young professional dancers (Impulstanz Festival, July 24-29, 2016, Vienna). It has performed recently at BOZAR, Brussels.
Performed by Kennis Hawkins, Jaime Llopis, Sandy Williams and Andros Zins-Browne.
May 6-7 at Whitney Museum for American Art, New York City