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#170 Olivier de Sagazan

Olivier de Sagazan (b. 1959, Republic of the Congo)
Transfiguration, 1998-

Performance. Transformation. Destabilisation of identity.
All good stuff.

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#169 Stefan Peterson

Stefan Peterson (Sweden)
Dancing with myself, 2016

He wants to convince his wife that he’s not just a boring office guy, so he goes dancing naked in the woods taking pictures of himself.

Such a lovely non sequitur and a very productive way to enact something with very economic means, also exploring body movement, odd locations, sound and its absence, still and moving image – a lot of components that I am also trying to combine.

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#167 Antony Hamilton

Antony Hamilton (Australia)
Token Armies, 2019

Chunky Moves, Melbourne

Dance expanded.
Humans. Horse. Dog. Flowers. Props. Sounds. Lights. Ponchos. Audience.

Inspiring overriding of disciplinary boundaries.
Inspiring expansion of “what a dance (performance) could be”.
Inspiring volume of the space where there is no optimal vantage point from where you could see it all all the time – which ties into my current project on perspective.

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#166 Trisha Brown

Trisha Brown (b. 1936, USA – d. 2017)
It’s a Draw, 2002

Dance as a drawing, drawing as a dance.

Very related to my earlier project “Imperfect Man as Perfect Measure”, but I am always curious about mixing media and ways how one type of practice can render work traditionally attributed to another kind of practice. Blurring of the boundaries.

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#163 Nick Cave

Nick Cave (b. 1959, USA)
Soundsuit, 2012

I’ve been looking for more interesting ways to present my sound pieces, the last one ending up in crochet. That kind of makes connection to Cave’s soundsuits – body-related objects referencing sound.

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#154 Franz E. Walther

Franz E. Walther (b. 1939, Germany)
Sehkanal, 1968

I like the idea of audience physically engaging with the work and often look for ways to incorporate such elements in my work. Here is a nice example of how it may work – and I especially like it for its conceptual quality. It is not just something you are allowed to touch in order to include tactility of the texture into your sensory reading of the work, but bodily engagement that activates concepts of distance and connectedness, seeing and not seeing, communication etc. Concepts materialised in ways bypassing verbal articulation are cool. I also like that audience engagement (beyond simply looking at work) is needed in order to complete the work.

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#134 Alexander McQueen

Alexander McQueen (b. 1969, UK – d. 2010)

I don’t know yet how this is relevant. But it could be.

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#132 Mark I. Chester

Mark I. Chester (USA)

…a performance where a pianist ends up tied up to his instrument.

Mark identifies as radical underground photo-artist and I am quite interested in exploring that space as well.

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#131 Santiago Sierra

Santiago Sierra (b. 1966, Spain)
250 cm Line Tattooed On 6 Paid People, Havana, Cuba, 1999

I like the boldness of the piece on all levels.

I like also the ambiguity – or irony? – in the exploitation theme here, which becomes even more interesting when comparing this piece to Delvoye’s Tim.

I like thought-provoking work that gives no answers, just food for thought – and I am trying to do that myself.

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#130 Saburo Murakami

Saburo Murakami (b. 1925, Japan – d. 1996)
Kami-yaburi

Body. Movement. Frame. Painting.

Or whatever. Odd combination of recognisable elements creates something that is difficult to categorise – and I like things that subvert too entrenched categories, provoking new thoughts and opening new horizons.