The Coin Project

Using fiction to break something open - Walid Raad

Cutting between history and past and future - realms and FICTION

Fictioning 

Mything 

24 hour Ruin 

This year I have been working as a co-curator for dance company Chunky Move (AUS) on their Activators series, specifically organising an event on the site of Australian Centre for Contemporary Art (ACCA). When trying to understand the complex history of First Nations people where both ACCA and Chunky Move are built, as well as each institutions' relationship to white abled bodies ; colonialism, people of colour, differently abled bodies and the eldery and I started to imagine ACCA as a ruin, and invited artists to occupy the space as such for 24hours:

 Something is being destroyed and something is potentially being built or starting to grow - I'd like to think we don't know what that is yet. But being in the wreckage, staying in the rubble of something that has already been destroyed or taken over, we are in an in-between moment. What if ACCA was the ruin we need ?

There's something about being in a space overnight for 24hrs on the edge of sleep and wakefulness which encourages a deeper transit into ruin time, labyrinth time ('the moment you enter the labyrinth, you've been there before' Jalal Toufic), a space where it's much more difficult to catch reality; a space where  dance, bodies, voices and soundwaves mesh and get lost. Let's get lost; found and lost and back again. Let's go from an 'I' to a 'we' to an 'us', back (or forward?) to an 'I' again and so on. 

Due to the pandemic and limited budget, I was unable to realise this project in Australia. However, I want to continue my interest in ruins and host myself in an overnight 24 hour residency to focus on the subject (most likely at B58/DOCH).

I invited NPP to brainstorm a schedule for me to follow for 24hours, and insert themselves as collegues/participants/supportors as nessary: 

- NPP Excel Schedule for 24 hour Ruin Residency

I plan to invite friends/collegues to teach me movement that goes from standing (up) to lying (down), or vice versa. They can then catalogue their movement in a survey called Ways in Verticality (I still have to add 'author' and 'co-author' tabs). This collection of movements would then be published online as a public resource for others to engage with, as well as a resource for myself.

Hosting a group dinner would also be fun.

Influences:

- Thinking The Ruin by Jalal Toufic

- (Vampires) An Uneasy Essay on the Undead in Film - Jalal Toufic 

- Eduard Glissant- Poetics of Relation

- Christina Sharpe - In the Wake

Movies:

- Maya Deren - Meshes of the Afternoon (1945)

The Goat Project

The meeting of the G.O.A.T (s) 

Meeting of Artificial Animal Objects

TAI CHI

I have been learning Taiji for 1.5 months. I would love to talk to you about this more, Sandra.

NOTE

BOOK

NESS

David Bowie Moon Landing Practice

I'm mashing elements from two videos on my body: the audio transmissions of NASA astronauts walking on the moon (1969) and David Bowie singing 'Golden Years' on Soul Train (1975). Youtube links are below this text. 

Please watch this video of me practicing (it's very early days) (3mins 18 secs) --------------->

I entered this practice through a definition of 'transorientation'.

Earlier this year I proposed an anonymous group brainstorm on a Google doc with NPP, Chrysa and Becky Hilton to define different types of orientation ('disorientation', 're-oriontation', as well as making them up and defining them: 'shyorientation', 'horrorientation' and so on). Here's the full Orientations document (14 pages) if you are curious. 

Our definition of 'transorientation' interested me:

- spanning far, connecting seperate entities

- Being a mix of things or working with heavy signifiers: pop culture, costume, mimicking people across history, time and place.

- Transgressing the borders of an entity and becoming something beyond it, impossible to categorize.

 In this practice, it feels like something is distintergrating and something is building. I'm trying to figure out what sort of ledgiblity this practice has; the nuances the performer needs to have and how she can be supported; what are the levels of precision and blur?

America is also somehow the link between my past context (Australia) and my present one (Sweden).