[Diptych (with break)] What strikes you first is the precise, abstract formalism: in the composition of the space (a white box, four block squares of color at the back, a table, a white box on the table, a mic). After that, it’s the silence (no object speaks). Then the drop (brown play dough falls from her hands and shoulders, flat to the ground / shit / that’s it for representation) Then, the voicing (the politics of appearance and historicisation through four pieces of playdough ). Scheuring is no Kandinksy, but she is, an essentialised composition, a private intimacy made public in this space of association. She’s no Hilma Af Klint, but there is something politically spiritual about this clinical precision. It’s a body that could be no other body, but is also the foreign body or rather, the body with voice.
In Foreigner’s Dance, there’s neon orange and the word ‘patriot’, not quite enabled to mean. Another formal confrontation with the figure of the foreign, how it is constructed, and the social tensions that frame it. Scheuring, wearing an ipod and headphones, makes us watch a dance we cannot hear; there’s no joining in, but no seriousness either. A volunteer announces the start of her performance by reading out her artist biography, and a scream ends it outside. This is about negotiation: of what this might mean in relation to foreigness, about the movement of cultural identities across contexts, about looking in, from elsewhere.
This is a diptych about migration, about the social tensions and politicisation of the foreign body, about the irresolvable and the unseen. Interval is the pause that sees two performers sing concurrently, in tandem, Polish and, respectively, English songs, from pop to folk, in strange unison, in a precise cross-section of cultural interrogation.
It is unstable; someone is dancing and there’s no way in.
This is a regimentation of thought, or rather, the body as a vehicle, an animator in this performative abstraction. Or, to put it differently, this is abstraction, the kind of abstraction that plays on several levels: fundamentally tied to ways of looking and being together, and resistant to narrativity. This is so much of disposition. This is so much of abstraction as reality.
(the kind of structural pauses of Entertainment Island)
In French, the word masse stands for a shot in pool made by hitting the cue ball vertically on the side, driving it around one ball to strike another.
Or, the affect laden landscapes of Umama Hamido’s journey in Hind, of orange sunsets and stories of those who have fled. A series of portraits, of orange rock deserts and danger as everyday life.
Form / document.
Migration by choice, migration by necessity, foreigness as side-effect, a kind of lateral unpacking.