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De la hibriditatea inerent From the Inherent Hybridity

performance-ului la of Performance to Singularity.

singularitate. S nu m prseti Never Let Me Go
Adriana Gheorghe

Performance-ul este o noiune care ncape greu n limba romn. Despre el i despre performance was arresting, it had black box implicit event temporality and elaboration
religie nu se poate vorbi dect foarte din interior sau foarte din exterior; mai ales n diffused in whatever the experience of visiting could be. From the other rooms, it
plan local, dar nu numai, un interlocutor relaxat-curios este foarte rar. Ruptura dintre was not so clear what it did, but it was an alien body prolonged in all the corners and it
cei neobosii, care duc lucrurile tot mai departe, alunecnd tangenial prin discursul messed with attention and temporality.
public autohton, i lipsa copleitoare a disponibilitii i abilitii (cu cteva excepii) Artists Lilach Livne and Uri Turkenich propose yet another way to fluidly institute
de a aborda performance-ul, fenomen i discurs, cu mai mult firesc i de a-i permite how one could meet the others pattern of thinking and making performance in the
transformare, nu-mi d pace. Pe de alt parte, poate nici nu are cum s existe discurs form of Mamash (an intensifier, meaning really and exactly, not very far from hyper
relaxat n relaie cu performance-ul. Textul meu oscileaz ntre cele dou perspective or from singularity). I met them via Skype and shared Lilachs pattern of thought with
extreme, eund de dou ori. Totodat, de la un punct ncolo, textul prsete orice them in a displaced self-interview continuously looping astray. They become you
dihotomie i urmeaz logica hibrid a obiectului su - abandonndu-se capacitii in addressing and you are a space that can carry your pattern of thought and mine
virtuale a discursului de a accesa spaiul neverosimil n care gndul se curbeaz i and hers also. And her is not the one that initially occupies my space (in a mutually
unde contradiciile coexist, iar forele exterioare i cele imanente lucreaz mpreun, care, uneori, integreaz noile orizonturi, transformndu-se n veritabile nave Performance remains an alien notion to Romanian. One cannot but approach generous and vampirizing situation) but something else formulating itself out of
permindu-i acestuia (performance, text) s participe la propria formare. Un spaiu spaiale, resemnificnd pn la alienare elementele iniiale i invitnd la producerea de performance in one of two ways, just as one can hardly approach religion either turning points and scary meetings between our deep movements of wistfulness.
indeterminat i bntuit, de aducere n proximitate. stranietate i singularitate. (Aplicnd strategii SF de literalizare a conceptelor, coregraful from a distance or from within. There is no real chance for a relaxed, interested This text (which differs from its Romanian version) follows and focuses on the
Egon Schiele i dorea, n 1916, ca aceast perioad, cea mai rea din istorie, s se Florin Fluera considera Black Hyperbox o nav spaial pe cale de desprindere de discussion. The gap between the ones inside, that cannot not accelerate things, and performance coming from the black box of theatre (distinct from the performance
termine. i era indiferent crei naiuni i aparinea, o prefera pe cealalt. Scrie n lumea veche a teatrului, iar post BHB, n cartea Bezna BHB scria c black-box-ul s-a the ones outside, unwilling and unable to let it evolve and gain a common sense, is, in the visual arts/white cube logic, but that became what it is exactly due to the
Muzeul Leopold din Viena. Am citit ast-var, ntr-o sal cu totul alta dect cea n care mutat n interiorul lucrrii. Tot strategii SF de literalizare, cu efect poetic sau speculativ, of course, not a typically local thing. Maybe there should never be any relaxed text theatre-visual arts intersecting in black box or white cube) and from the perspective of
se ntmpla un performance de Tino Sehgal. Printre peisajele lui Schiele, care, toate, folosete Alina Popa, artist vizual i performer, n relaia cu gndirea abstract, pe care connected to performance. This text will try and get busy with the (hybrid) nature of contemporary dance history (in a complicated dialogue with the history of modern/
reluau din memorie gesturi antropomorfe ale copacilor i cerului, i, la fel, printre o trateaz cu afeciune i cruzime alintnd i plimbnd punctul/animal de companie its object, going from intensely satisfying two different extreme desires, failing twice, to post-modern theatre, especially its postdramatic stage).
portretele care, toate, captau micri sufleteti vagi de nepotrivire, lips i ndrzneal sau captnd dou perspective n aceeai linie a orizontului vertical care secioneaz losing any dichotomic thinking and trusting more the virtual forces of the discourse Speculating, especially when migrating towards other horizons, performance keeps
amar (cnd, n timpul verii, n Viena, corpul tu poart pe dinuntru un copac uscat), corpurile celor coregrafiai.) Ideea de baz a acestui text este aceea c performance-ul while entering an a-perspectival (whose voice, no voice), trans-dimensional logic of the black box inside. And then integrates other horizons, too, turning the work into
erau expuse i fragmente din jurnalul i corespondena acestuia. Performance-ul, este inerent hibrid (propune scrierea experienei i, implicit, a percepiei) i poate the mind-curving space where it is both and neither inside and outside, anything is a spaceship, resignifying and alienating familiar phantom limbs, perfect for generating
duraional, alctuit dintr-un montaj hipnotic de slow-motion nonfigurativ i incantaii deveni generator de un anume tip de constelaii de hibriditate destabilizatoare pentru haunted by something different and through their co-existence and movements of strangeness and singularities. (Choreographer Forin Fluera thought of the Black
(mai puin beatboxing-ul obinuit) al unui grup de doi-trei performeri aezai pe podea, noi, oamenii, n formularea noastr safe (neleg unde mi se oprete nelegerea i simt displacement and lingering, old voices get silent but meetings do occur. Hyperbox constellation to be a spaceship in relation to the old world of theatre
nu fusese construit special pentru Schiele i nu era prezentat pentru prima dat ntr-un c nimic, nici din exterior, nici din interior nu-mi spune ce experimentez, nu sunt nici In 1916, Egon Schiele wanted desperately for his time, the worst time in history, to end. and, later, in the discursive BHB formation, he wrote that the black box moved
muzeu. De aproape, performance-ul te confisca, avea calitatea implicit de eveniment mcar invitat la experine contradictorii i alienante, toi, performeri i receptori, Indifferent to which nation he might belong, if any, he would prefer the other. There inside the work).
elaborat, pe care o aduc performance-urile de black box n temporalitatea vizitei la ne-am putea abandona proximitii n acelai mediu i forelor imanente is a note in Leopold Museum in Vienna. I read it last summer in an exhibition room The premise of this text is the inherent hybridity of performance (that aims at scripting/
muzeu. Din restul camerelor, afectul murmurat, ca un corp strin cu multe tentacule, transformatoare, fr s cutm, fr s construim sau s ateptm ntlnirea, acceptnd different from the one in which a Tino Sehgal performance was taking place. Amongst choreographing experience and, implicitly, perception - you tell me what I experience,
nu tiu nc ce fcea exact. c ea s-ar putea ntmpla. Sau inem cu dinii de reperele subiectivitii noastre). Schieles landscapes, that were all visions of landscapes out of observing bodily I tell myself what I experience) and that can generate spirals of hybridity, redistributing
M voi referi n textul de fa la performance-ul asociat cu logica scenei (diferit de cea Oare ne-am putea ntlni n singulariti, n loc de individualiti? (parafrazarea movement of mountains and trees and amongst the portraits that were all paintings the possibility of understanding and experience in counterintuitive strange places of
a artelor vizuale, dar care a devenit ceea ce este fix n urma intersectrii cu aceasta, n societii de singulariti a lui John Rajchman, citat de Andr Lepecki). n cea mai of displacement and wistfulness (like the feeling of an autumnal tree inside your mingled perception and reception (I understand where my understanding stops and
black box sau n white cube) i cu istoria dansului contemporan (aflat ntr-o relaie recent carte a sa Singulariti: Dansul n era performance-ului (t.m) , criticul de body while in Vienna, in summer), there were also the notes and fragments exhibited. I sense nobody is telling anything, not even inviting for contradictory or alienating
complicat cu istoria teatrului, mai ales faza sa postdramatic). Cu precdere acele dans Andr Lepecki introduce termenul de singularitate n relaie cu dansul i The durational performance proposing 2-3 sitting performers looping in slow-motion experiences but we all leave each other alone in proximity in the same environment for
forme aliene de via performativ care, migrnd spre alte orizonturi (contexte), performance-ul (concept pe care l lansase/aruncase nainte la Bucureti, n urm and chanting (really chanting, very little beatboxing) was not produced especially our immanent forces to transform us continuously and in some unstable moments we
pstreaz i poart cu ele black box-ul/cubul negru/scena ca logic intern, dup cu doi ani, cu ocazia atelierului i lecture-ului susinute n cadrul E-Motional, la for Schiele, nor was it presented in a museum for the first time. In proximity, the might even meet a.s.o.) thus destabilizing the safe formulations of ourselves.

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In his most recent book Singularities: Dance in the Age of Performance, the dance critic inside) inviting us to the opposite of what our intuition and construction tell us it is
theorizing performance extensively, Andr Lepecki, introduces the term singularity acceptable, stretching for meetings with different fabric, real, while caressing each
in connection to dance and performance (in Bucharest he had so fittingly thrown others brains. Test yourself. Check how close or how far you are to receiving this. <3
the concept ahead two years ago when invited by tefania Ferchedu to give a Performativity means the capacity of language (convention-given, in art and in
lecture and a workshop inside the E-Motional program). In the spirit of Deleuze/ life) to act building/changing reality, while performance is the live art endlessly
Guattaris treatment of concepts, Lepecki prefers to use art philosopher Georges inventing new languages for its elusive medium. One could also argue that this is the
Didi-Hubermans reappropriation of D/Gs concept of singularity as bearer and performative turn and that there is no non-performative (non reality-producing)
generator of strangeness. Could we, instead of meeting as individualities, meet in the artwork (art historian Dorothea von Hantelmann, who also preferred the term
coreless core of singularities? (paraphrasing Lepeckis quoting of philosopher John experiential turn for contemporary arts concern with an artworks effects on the
Rajchmans idea of a new society of singularities). viewer and with the situation in which it takes place).
First, frontally addressing the audience and piercing through the 4th wall of the The conventional-effective hyperstitional attitude associated with performing turns
theatre got confiscated and its effect understood and overcome, now the landscape performance into a very interesting hybrid already acting as such and surpassing dualist
type of diffusing experience should also get confiscated as the right way to do it thinking (thought/language and its compounds on one side and reality/experience
(with the neutral non watching the audience attitude keeping a tiny twisty bit of the on the other). Once binary schematism irrelevant, hybridity spirals and complicates
representational feel in its general feel of happenings from the negotiating space of each side and their relation to the context. This way a notion like symbolic order
visiting art). I wonder about the possibility to work inside the frontally addressing enters opposition with both material and immaterial dimension. Also the physical
(and even using/meditating through and around representation) and not frontally plane can be ordered by the very logic of material, visible or invisible or could mix
address but create an unstable space of multiplicities inside the perception. There can nonrepresentational language with kinetic sympathy, while verbal language can affect.
be obliqueness inside frontality, different instantiations of it. Where even me using Black Hyperbox (BHB or just HyperBox, anyways a productive lie, thrown ahead
language tricks and sharing someone elses perspective is very little that. Or Florin of us like Florin Flueras dice, to work on us retrospectively), had different utility,
Flueras spaceship-solo Artificial Emotional Intelligence in the white cube temporality. consistency, temporality and language for any of the performers involved. Concepts
The second time she just ignored us, trapped in consuming her parallel trip from are similar to violent things or acts that we make, break and remake alongside a moving
before the performance started and long after it was over. And kept on asking us to join horizon, paraphrasing Gilles Deleuze, but also artist Alina Popas passionate take on
invitaia tefaniei Ferchedu). Singularitatea ca purttoare i generatoare de invizibil de cealalt parte). Odat depit gndirea binar, hibriditatea her Prayer for the Abstract. No seduction, not like the first time, when the invitation abstractions in her ongoing conceptual tension between perspective and horizon (the
stranietate. Lepecki prefer, n spiritul Deleuze/Guattari, s foloseasc reformularea se rostogolete n spiral, complicnd fiecare parte. Astfel, un termen ca ordinul was to become flat and virtual and real by scanning ones own existence (and point pet, holding two perspectives in one vertical horizon slicing the body and the
conceptului celor doi propus de filozoful i istoricul de art Georges Didi-Huberman. simbolic intr n tensiune att cu dimensiunea material, ct i cu cea imaterial. their awkward Deleuze/Lacan shadows of significance) language resignifying self or the possibility of a second horizon cutting the perspective in the middle etc.).
Singularitatea ireductibil, diferit de individualitate i productoare de multiplicitate Pe de alt parte, planul fizic poate fi reconceput n termeni de logic a materialului, fictionalization and the interactive performativity of the Open Game. This time only In both writing and performing, she applies science-fictional strategies of dealing with
i bifurcaii. Singularitatea ca un anume tip de eveniment care conine i actualizare, vizibil sau invizibil, poate fi guvernat de afect sau poate combina un limbaj grave disappointed insistence that all of us reach the non-image while covered in abstractions literally or figuratively (with poetic or speculative effect). In the written
i non-actualizare. nonfigurativ cu simpatia kinetic. highly charged burkas, holding hands or looping Isadora Duncan style. Maybe just a extension of BHB labyrinth (Bezna BHB book published by PUNCH), some of
A doua oar, ne-a ignorat, fiind deja ntr-un trip al ei, n care a i rmas blocat mult Platforma Black Hyperbox (BHB sau doar HyperBox), o minciun productiv, bit of her viral complicity laughter haunting her trip and the performance. Still no one the performative practices or theoretical interests will find a way to transform or just
dup ce s-a ncheiat performance-ul. i, n acelai timp, ne-a cerut insistent i tot mai aruncat n viitor ca zarurile lui Florin Fluera pentru a ne circumscrie, retrospectiv, followed. And it was perfect. Lilach Livnes performances happened in apartments spread in the new medium. If I am not mistaken, paraphrasing, Alina Popas thought
dezamgit s o nsoim ntr-o Rugciune pentru Abstract, s atingem mpreun non- aciunile, a avut utilitate, consisten, temporalitate i limbaje diferite pentru fiecare in Bucharest (thanks to Lorgean) and this added to the alienation effect. Check her climbs the vines of liana and theatre jumps to the narrators throat.
imaginea, acoperii fiecare de cte o burka, s ne inem de mn, ntini pe jos, privind participant, lansnd, n acelai timp, propunerea/realitatea unui nou mod de a gndi very Facebook account. She is using the same resignifying - or naming it like it really While, if I remember well, artist Ioana Gheorghius intensity towards reduction and
sau dansnd n loop frazele Isadorei Duncan. Ne vorbea netulburat i cu gravitate, nu gndirea, n care conceptele sunt operaionale, chiar violente, nu reflect, ci fac imersie is - strategies (eating away enormous distances between most delicate things) in the sound turned from reducing verbal language into essential affective meaningful
se uita la noi, consumat de spaiul propriului trip, bntuit de altceva, care izbucnea, din n schimbarea continu a lucrurilor. Post-BHB a urmat publicaia Bezna BHB, un official virtual space and she gets away with invoking the confiscated language of love chanting (in the performance space) to reducing the texts of the BHB book, its
timp n timp un rs proaspt i complice ca un virus. A fost un eec, n-am urmat-o. mediu nou n care unii dintre noi i-au urmat preocuprile vechi. Detalii despre and prayer accompanied by grave, intensely sad selfies. And the same failure reaches transitions, into partitures, visually, conceptually and imaginatively rewarding while
A fost perfect. Locul de manifestare pentru performance-ul lui Lilach Livne, bazat pe preocuprile fiecruia din BHB n varianta infidel a acestui text n limba englez. us somehow (still I wonder where/when is the laughter here?). She is not so far from provoking the strangest meetings. (I wonder how the proximity of my text to the one
strategii de resemnificare pentru a fora apropierea ntre lucruri imense (lingvistice, Contextul scenei vine cu o logic a vizibilitii, virtuozitii, focus pe modalitate i Aurel Ilie or from the counterintuitive forces of religious texts (stay away if not already signed by Blake Victor, highly emotionally intelligent entity too busy with his work
cognitive, fizice, afective) i a provoca altfel de ntlniri, a fost un apartament din dramaturgie, pe care performance-ul o accentueaz, o viruseaz, o neag, n general, o
Bucureti, n cadrul Lorgean, accentund stranietatea. Prima dat ne sedusese i apoi complic, astfel nct apar ali hibrizi operativi de tip coregrafie devenit score invizibil
ne ceruse, cu succes, s o urmm ntr-un Joc deschis de-a scanatul (ficionalizndu- pentru aciuni pe scen, executate de performeri virtuoi sau nevirtuoi etc.
ne i acceptnd, implicit, s performm) i de-a aplatizarea, (devenind bidimensionali, Un alt aspect interesant al hibriditii este situaia complex n care, pe de o parte,
virtuali i reali). n ultima vreme, Lilach Livne propune aceleai strategii de dualitatea este depit i noua form de via performativ scap n contexte noi,
resemnificare (sau de numire de-a dreptul) n spaiul virtual oficial al Facebook-ului: continund hibridizarea (performance-urile de black box n white cube, de exemplu)
invoc limbajul confiscat, riscant, imposibil al dragostei i al rugciunii, alturi de selfie- i, n acelai timp, tensiunea intrinsec rmne activ (una din accepiunile hibridului e
uri cu expresii de profund tristee. Propunerea nu e departe de Aurel Ilie sau de efectul mix de tehnologii i alimentare din dou surse). Practica de ncorporare
contraintuitiv al textelor religioase, e o invitaie la tot ceea ce intuiia sau constructul a imaterialului (sau de perisabilizare i vulnerabilizare a obiectelor) a Alexandrei
propriei subiectiviti ne spune c nu e ok, fornd ntlniri cu o altfel de textur (de Pirici i a lui Manuel Pelmu, de exemplu, adreseaz, chestionnd i afirmnd
parc ne-am alinta unii altora direct creierele). Acesta poate fi un test. Oare ct de greu deopotriv, posibiliti contradictorii ale materialitii i imaterialului n art, prin
sau ct de uor i este minii s primeasc o astfel de provocare? performance-uri elaborate i duraionale, nu lipsite de o virtuozitate a neutralitii
Performativitatea este acea capacitate, convenional, a limbajului de a aciona, (execuie bun, performare detaat) n spaii de expoziie (combinnd temporalitile
instaurnd realitate n via i n art, iar performance-ul este arta vie, care i i modalitile). Lor li se mai adaug corpuri relativ amestecate, executnd
inventeaz ncontinuu limbaje pentru mediul ei eluziv. Dorothea von Hantelmann, reenactment-uri de reprezentri materiale sau imateriale. O soluie interesant,
curatoare i specialist n istoria artei, vorbete despre noua direcie/perspectiv ecologic, de neutralizare a subiectivitii, ntr-o conversaie mai larg despre
performativ, conform creia toat arta este performativ (produce realitate) i memorie, muzeu, art, putere, element uman.
prefer termenul de noua direcie/perspectiv experienial pentru a distinge Att Andr Lepecki, ct i Mrten Spngberg, fiecare cu discursul su i avnd
preocuparea artei fa de efectele ei asupra privitorului i asupra contextului. ca numitor comun gndirea lui Deleuze n combinaie cu Guattari, consider
Atitudinea convenional i eficient hiperstiioas cu care vine la pachet performarea performance-ul (ca spaiu de manifestare a identitii i subiectivitii) compromis i
face din performance un moment foarte interesant, de hibrid deja n aciune, depind dansul sau performance-ul de dans i coregrafia drept modalitile (independente ntre
gndirea dualist (gndire, limbaj, reprezentare de o parte i realitate, experien, ele) de a produce singulariti sau alte forme aliene de cunoatere.

62 De la hibriditatea inerent performance-ului la singularitate. S nu m prseti From the Inherent Hybridity of Performance to Singularity. Never Let Me Go 63
Una dintre strategiile care m intereseaz de adresare a acestei probleme este differently while sharing the influence of Deleuze in combination with Guattari)
transformarea limbajului n material perisabil i instabil, uncanny sau literal / artificial, consider performances elusiveness - as mainly a space manifesting and screaming
separat de sens i subiectivitate (limbajul i sensul coexistnd n planuri paralele). identity and subjectivity, implicitly language - compromised and dance or dance
Tehnologiile performative ale coregrafului Ivo Dimchev, de exemplu, (culmea performance and choreography are being proposed as (distinct) modalities for the
ireverenei fa de orice urm de semnificaie) produc i nu produc deloc o continu production of singularities or other alien uncapturable knowledge.
performare a subiectivitii performerului, iar strategia sa din Operville, care ntlnete One way to address this problem would be turning the very possibility of language
strategia coregrafelor Mdlina Dan i Agata Siniarska din Mothers of Steel, propune into frail unstable material, uncannily or literally/artificially separated from meaning
fix separarea palierelor sunet / muzic i sens / limbaj n abordarea unor forme de and subjectivity. Ivo Dimchevs performative technologies, for example, (the most
performance de oper contemporan. irreverent one could be towards significance) are producing just as are not producing
O altfel de meditaie asupra implicaiilor separrii i re-suprapunerii planurilor (vizual a continuous performance of the performers subjectivity, but of borderline affect,
i sonor) i a mediilor artistice s-a ntmplat la nceputul iernii, la galeria Anca Poterau while his take on contemporary opera performance in Operville, that is interestingly
din Bucureti, n expoziia artitilor Irina Botea i Jon Dean, curator Daria Ghiu, n similar to Mdlina Dans and Agata Siniarskas strategies for the powerful Mothers of
jurul ideii de ce i cum pot mprti oamenii (sau vecini i radio). Un spaiu plin de Steel, introduces exactly this thing of separating the layers even more, not only body/
urme vizibile ale (technicalitilor) radioului sau urme vizibile i sonore ale vecinilor face/verbal language but decomposing aria into music/sound/crying and, in parallel,
nevzui, un spaiu viu, plin pe jumtate i bntuit n cealalt jumtate. i un alt spaiu, language/meaning.
exagerat, de dou ori construit (un film despre cum se produc sunetele pentru teatru Choreographer Krt Juuraks (self) performing practice (crafting the dosing of
radiofonic), i n care informaia vizual nenecesar despre sunete (un limbaj cu o performativity pretty close to Artificial Intelligence), on stage and outside it,
logic paralel) perturb i bntuie, aparine i nu aparine coninutului sonor. Dar, traversing contexts and following a contingency-driven score of explicit or implicit
cel mai grav, dnd sonorul mai ncet n prima camer, Irina Botea a ncorporat, mai tasks of moods (bad, trying to have fun, normal, nice etc.), produces terrible
mult sau mai puin accidental, povetile vecinilor, ntr-o practic de reenactment uncanny-ness and uneasiness. Her black box skills mix with delegating the authorship
empatic, discret i proprie. Astfel de accidente mici pot seta receptarea ntr-un quest of her very own consciousness shaping existential experiments, turning herself into
suspicios-ireverenios de tip care/unde e lucrarea transformnd ntreg eafodajul latenele, nvluind literal, conceptual i poetic siluetele dansatorilor i promisiunea on humans, sounds like; or artist Irina Gheorghes clean and limpid text on deviation a screen inviting projections, a black mirror inviting dark reflections or an unsettling
elaborat al expoziiei ntr-un pretext pentru acea intervenie performativ (exagerez, scenei, deschide, o dat n plus, posibilitatea unei experiene i cunoateri de tip meeting with the devouring transumweltic composition by mathematician Gabriel mirror reflecting the void, this way expanding once again the possibility
dar nu m pot abine), asemntor cu un alt accident mic de anul trecut, la ODD, cnd, mediu nconjurtor, cu iz de reverie la trezirea dintr-un somn n public, unde nu Catren; or, for that matter, the entire music of the editors vision on BHB). of choreography or performance.
n cadrul unei proiecii & lecture despre Felix Guattari, Fernand Deligny i clinica e limpede dac lumina aprins sau stins e mai safe sau mai unsafe. n piesele lui Black box belongs to (and implies) the realm of visibility, virtuosity, focus on The influence of Deleuze shall never cease to amaze me (especially the work
La Borde, parte din foarte interesantului poiect KNOTS (curatori Vlad Morariu i Mrten Spngberg se poate tri o vreme. La piesa Dawn, o variant indiferent i constructed temporality, modality and dramaturgy that performance stresses or A Thousand Plateaus, with Guattari) on contemporary speculative thinking and
Cristina Bogdan) i n contextul articulrii unei situaii de comunicare deja disjunctive mai dubioas a lui Natten cea horror, am tot adormit, cu sentimentul c ceva mi messes with so that other operational hybrids may appear (such as choreography performance and dance discourse, on the rethinking of thinking and the introduction
i problematice (& n condiiile coincidenei cu un meci de fotbal transmis n direct coregrafiaz aceast reacie. Iar oaptele performerilor suporteri mprtiai strategic reduced to invisible chance scores for actions on stage performed by unskilled of practice as another way to organize and share artistic knowledge, and generally on
n Centrul Vechi), Cosmina Moroan a vorbit insistent despre Guattari cu deosebit printre spectatori se amestecau cu vocile interioare care dezbteau ncontinuu despre performers a.s.o.) There is also this interesting complexity about hybridity that allows the practices of making, performing and receiving dance, and how good a medium
cldur i familiaritate. ce mai poate fi nepotrivit, unsafe, plcut etc. for duality to be surpassed and a new form of performative life to emerge into new performance is for the philosophy of immanence.
Practica lui Krt Juurak de a (se) performa, pe scen i n afara ei, urmnd o coregrafie Parafrazndu-l pe Andr Lepecki din cea mai recent carte a sa s reuim s contexts or to bring new contexts inside spiraling on the hybridity (performances Darkness or continuous evening as an invitation for the virtual to literally unfold
supus contingenei, de task-uri explicite sau implicite de stri rele, normale, ok, facem lucruri modeste, neeroice, improbabile, s reuim s nu ne dorim s fie / fim with black box processual logic in white cube or just outside any cube), while, at its potentiality, conceptually and poetically hiding the dancers individualities
prietenoase, artificiale etc. i doznd performarea cu o precizie automatizat de recunoscute / recunoscui. n legtur cu singularitile se poate face aluzie, ele the same time, maintaining active the phantom limbs and their initial tension (the and denying the scenes promise of visibility, while opening the possibility for the
inteligen artificial, produce nelinite profund i experimente umane riscante, de scap reprezentrii. Se poate spune c ele populeaz lucrurile. i oamenii, i other definition for hybrid states mixing different technologies and feeding from actualization of a landscape kind of knowledge out of the fabric of public
hiper skill amestecat cu delegarea controlului/subiectivitii, care extind noiunile de conceptele etc. Dansul se alieneaz astfel de imperativul de a aduce ceva nou, dar two sources). daydreaming, where it is not clear which is un-safer - lights off or on. One could
coregrafie i performance. ntlnirea cu ea promite situaii n care aceasta pare s delege i de subiectivitatea autorului su. The practice of Alexandra Pirici and Manuel Pelmu, for example, of embodying inhabit a Spngberg dance performance for a while. Dawn, a more indifferent and
nsi calitatea de autoare a propriei contiine, este ca un ecran/oglind neagr care n urm cu civa ani, ntr-o cafenea din Centrul Vechi a avut loc o Mascarad, the immaterial addresses, both questioning and affirming, the contradictory dubious variant of Natten the horror dance, joined me in my falling asleep as an
atrage i respinge n acelai timp proieciile i reflexiile, invitnd la alunecri n gol. organizat de Valentina Chiri i propus de HitGirl, un avatar virtual din lumea possibilities of what is material and immaterial in art, through hybrid durational intuition of it being somehow choreographed. And the nice strategy of mingling
M surprinde, de fiecare dat cnd deschid Mii de platouri (1980), ct de devoratoare literar, care a invitat-o pe Maria Mora, performer, s citeasc, la prima vedere i chinuit, discretely skilled performances (not without a virtuosity of the neutral or whisperingly cheering performers in the audience felt like inner voices debating on
este influena acestei cri asupra gndirii contemporane i, n special, asupra practicilor un text despre telekinezie, dar i pe Aurel Ilie, specialist n telekinezie, s explice i recognizable Brechtian alienation), in exhibition spaces, mixing black box and white what is improper, unsafe, nice and ok.
(i a ideii de practic, neleas ca un alt mod de a organiza i distribui cunoaterea s dovedeasc. Aurel Ilie a stat cu spatele la public, a povestit despre pregtirea lui cube temporalities and modalities. The clean execution and detached performing Paraphrasing Lepecki, let us succeed in doing modest, improbable, un-heroic things
artistic), asupra discursului din performance-ul de dans din ultimii ani (i a felului special, ntr-un discurs halucinant (Pot mica obiecte, indiferent de mas, singura of relatively mixed bodies and trained voices re-enacting representations of other and desire not so much, for them and for us, to be recognized. Singularities escape
poetico-virusat / speculativ de a folosi limbajul) i, n general, al felului n care sunt condiie e ca raportul mas, mprit la distan, s fie constant, deoarece momentul e material or immaterial artworks is also one interesting ecological way, among other representation, they can only be alluded to. They are said to populate things and
regndite producerea, prezentarea i receptarea performance-ului. i ct de potrivit fora ori braul forei. Adic dac eu vd luna, o pot mica la fel de uor cum mic un things, to neutralize the performance of subjectivity, in the larger conversation tackling people and concepts. This way dance alienates itself from the urgency to be new and
este acesta ca mediu pentru filozofia imanenei. obiect, singura diferen e c luna o rotesc ntr-un unghi foarte mic, iar obiectul mic l topics such as memory, museum, art, power, humans etc. also from its subjective authorship.
ntunericul, noaptea sau seara continu ca invitaie a virtualului de a-i emana rotesc n unghi mai mare, deoarece e mai aproape etc., etc.), a cerut lumin mov i a Both Andr Lepecki and choreographer Mrten Spngberg (approaching discourse Some good years ago, in a coffee shop in the Old Center of Bucharest, there was

64 De la hibriditatea inerent performance-ului la singularitate. S nu m prseti From the Inherent Hybridity of Performance to Singularity. Never Let Me Go 65
ncercat timp de cteva ore s mite sticle i borcane. Publicul a fcut mito, a tremurat and hybrid-non-choreographic forces (a bit like Spngberg does), the spectacle
de emoie, s-a plictisit, a fost la limita ndoielii, a vibrat, a plns, s-a plictisit din nou, got literally dispersed in the body of the public and in their subjective temporality.
a nceput s converseze i s consume de la bar sau a plecat acas. n a treia parte a What was choreographed were several planes of intensity: bugged discursive frame
performance-ului, dup mai bine de dou ore de ateptat, Aurel Ilie a micat primul denouncing itself diluting an already improbable experience followed by the miracle
borcan, aproape imperceptibil. Spre final, cnd nu-l mai urmrea nimeni, mica sticlele in the end, misplaced regime of attention (non co-occurrence of climax and anti-
pe podea cu o vitez neverosimil. climax between sides, continuously missing the point or maybe a way to connect to
Singularitile, diferite de individualiti, sunt puncte de tensiune i potenialitate n ones own singularity exhausting subjectivitys preconditioned reactions)and last, but
interiorul materiei sau n interiorul unui lucru cnd acesta intr ntr-un anume cmp not least, strategies for ongoing alienation of the mediums and of spectators providing
de fore i sunt absolut unice pentru acel lucru. Sunt un joc de fore i ntlniri ntre for new, literal, take on the object-oriented ontology or philosophy.
lucruri. Pot fi deduse prin angajarea n aciune fa de material. A Benot Lachambre performance, especially as of late, offers literally the experience of
Doar observarea nu e suficient. a choreography of energetic matter in movement, bearer of singularities in an ongoing
Mascarada a jonglat cu strategii de punere n aciune a unor fore coregrafice i process of transformation and transfer. Dancers and spectators, they all become un-
hibrid-necoregrafice surprinztoare de tip - spectacolul dispersat n public i dislocat thought of, unrecognizable spirited matter. What the Canadian artist choreographs
n timp, coregrafia mai multor platouri de intensitate (cadru discursiv virusat, cercuri is energies and air, very close to the society of singularities above. Lachambre
concentrice de autodenunare, ncadrare i diluare a unei experiene improbabile i accompanies his performances with short correct texts promising the breakdown of
minunea de la final), regim al ateniei dislocat (necoincidena continu dintre climax all social, individual, conceptual constructs as when an ideal stranger comes to you
i anticlimax n fiecare dintre pri, rateu continuu sau mod de a se conecta la propria and knows to fulfill the very secret unnamable thing that you miss the most. It sounds
singularitate i de a iei din subiectivitate), strategii de alienare continu a mediilor i a so lame and it even delivers entirely. There is much talk about a shamanic approach
spectatorilor, valene noi, literale, pentru filozofia / ontologia centrat pe obiect. to choreography but he really puts in motion something enormous. Another way to
Un performance de Benot Lachambre, mai ales n ultima sa faz, ofer, literal, talk about it is that it is not much to look at, it smells badly, it feels cruel and awkward
experiena unei coregrafii a materialitii energetice n micare, purttoare de to watch, it requires something not everybody is willing to give (up) and, maybe, this
singulariti ntr-un proces continuu de deformare, transformare i transfer. Nimeni perspective does not stay long.
nu decide / transmite / capteaz propriu-zis nimic. Dansatori i spectatori, deopotriv, () Real communication does not take place via understanding at all but through
toi devin materie n formare, inaccesibil privirii sau gndirii, doar afectelor impulses for the recipients own creativity, impulses whose communicability is
neidentificabile. Coregrafia i transferul se mut fix n aceast dimensiune empiric- founded in the universal predispositions of the unconscious(). [Robert] Wilsons
spiritual. Artistul canadian coregrafiaz cel mult energiile, spiritul i aerul. Cnd acesta scenes are not meant to be rationally interpreted and understood but are intended to
promite, n textul de prezentare (parafraznd), c vor pica toate constructele sociale, spark peoples own productivity and associations in the magnetic field between stage
individuale, conceptuale, ca atunci cnd un strin perfect vine la tine i tie s ofere compoziionale), de la reprezentare/iluzie la realitatea performrii, de la conflict i a Masquerade, organized by poet Valentina Chiri and proposed by HitGirl, a and spectators. This is one of the modalities of postdramatic theatre as theorized by
exact acel lucru secret, indefinit, care i lipsete cel mai tare, sun lame, dar exact naraiune, la text non-narativ, de la anularea brechtian a conveniei celui de-al patrulea virtual literary avatar, that invited performer Maria Mora to read, first hand and in a Hans Thies Lehmann and he places this example in a space that does not belong only
asta se ntmpl. Aa ar putea arta societatea de singulariti. Muli coregrafi perete la teatru de tip peisaj care nu focalizeaz i nu solicit atenia continu etc. E careless improper manner, a pseudo scientific text on telekinesis and, also, Aurel Ilie, to the history of theatre, but transgresses genres meeting with dance, opera, visual
vorbesc despre acest deziderat amanic al coregrafiei, Lachambre chiar reuete fascinant cum noiuni de tip teatru-peisaj apar nc de la autori ca Gertrude Stein specializing in telekinesis to do the deed. Aurel Ilie never faced the public, asked for arts, all under the name of postdramatic theatre or the logic of performance. I would
s pun n micare ceva enorm. i continu la Robert Wilson, care prin tehnica sa de separare a mediilor micare/ indigo light and tried to move several glass bottles, while explaining his technique in a argue that although the desires of the black box, be it theatre or dance performances,
Un alt fel de a vorbi despre coregrafia lui de ast-var de la ImpulsTanz ar fi micare text verbal/gesturi/vizual/muzic revoluioneaz teatrul i opera, mixnd alienarea hallucinatory speech (I can move objects regardless to their mass, the only condition ultimately continuously alternate between understanding and experiencing the work
repetitiv neinteresant, trip dubios de ore ntregi, pic de sens, de bucurie vizual sau lui Brecht, cu un puternic formalism care nu se adreseaz nelegerii, ci, dimpotriv, is that the mass divided by distance is constant, since the moment is the force or the differently, the modalities and their rationale differ. They did not necessarily influenced
olfactiv, e aproape indecent s rmi martor la aa ceva, i este plin de cruzime, invit subcontientului spectatorilor i potenialului cmp magnetic dintre scen i sal. Iar forces arm. That is, if I see the moon, I could move it just as easily as moving an object, each other directly. The use of verbal text in dance performances, for example, does
la un abandon pe care nu toat lumea e dispus s-l accepte. Dup o vreme, de cele mai n prezent spectacolul-peisaj domin discursul dansului contemporan. A susine the only difference is that the angle of rotation for the moon is very small, while the not automatically relate to the history of theatre and its modalities but to the dance
multe ori, perspectiva dinafar dispare. (parafrazndu-l pe JacquesRancire) c performance-ul de black box, fie c vine angle of rotation for the closer object is larger). The audience made fun of him, got history and conceptual moment of Jerme Bell (together with its assimilation of
Ce face, n fapt, performance-ul, n general? Nu att ce este, ct ce face pentru c pe tradiia teatrului sau a dansului, va oscila ntotdeauna ntre cele dou posibiliti anxious, got bored, doubted, got struck, vibrated, cried, got bored again, started poststructuralist philosophy). On the other hand, they might have influenced each
acesta deja acioneaz. Inventeaz limbaje noi. n contexte vii, dezordonate, pe care teatrul cruzimii sau cel epic, adresndu-se nelegerii sau experienelor de alt conversations and took drinks from the bar or left home. After two hours of religious other obliquely. It is fascinating to hear Gertrude Steins language on landscape theatre
le ordoneaz. Alt fel de a ordona experiena pe scen, sub influena artelor vizuale, calitate dect raional, dar a insista asupra faptului c modalitile de manifestare waiting, Aurel Ilie moved the first bottle in an almost unperceivable manner. kind of defocusing experience in the case of Robert Wilson and his separation of
alternd treptat premisele teatrului i dansului ca reprezentare i iluzie, n favoarea i argumentele din spatele acestor modaliti difer puternic n cazul celor dou arte. Towards the end, when there was almost nobody watching, he was moving the the layers verbal/movement/gestures/music and, generally, in the way he totally
realitii performrii/prezentrii. n cartea sa Teatrul postdramatic, aprut la sfritul Folosirea discursului verbal n performance-ul de dans, de exemplu, solicit o alt bottles on the floor at an implausible speed. imploded theatre and opera, but also in the contemporary dance discourse today
anilor 90, teoreticianul Hans-Thies Lehmann propunea o schimbare de paradigm citire dect asocierea automat cu teatrul, vine la pachet cu momentul anilor 90 de Singularities, distinct from individualities, are points of tension and potentiality inside (and with different argumentation behind it rethinking dance as abstract machine/
n istoria artelor spectacolului prin noiunea de teatru postdramatic, care aparine asimilare n metodologia dansului a filozofiei poststructuraliste, n timp ce spectacolul matter, or inside a thing when the thing enters a particular field of forces. They are a Deleuze concept producing indeterminacy etc., or under the spell of speculative
istoriei teatrului, dar invit i la o tergere a genurilor, mixnd oper, dans i arte vizuale. de dans de tip peisaj e conceput din raiuni cuantice sau speculative, ca o regndire a play between immanent forces and circumstantial encounters, absolutely unique for philosophy, or just mixing white cube/black box temporalities etc.).
Teatrul postdramatic (sau logica proprie performance-ului) propune deplasarea dansului ca mecanism abstract care produce indeterminare sau prin interaciune cu that thing that gets to take part into its transformation, and can be deduced only by Taking some steps back, what does performance actually do? It keeps inventing
ateniei de la drama-text la ce se ntmpl n momentul performrii n spaiul dintre temporalitatea white-cube. Exist mai puin o influen direct i mai mult transgresri commitment (to action) towards the material. Observation only is not sufficient. languages in live contexts (to make itself stay). And ever since art got busy with how
scen i public (textul scris nainte sau n spaiu devenind doar unul din elementele pe diagonal. n anii 60, black box-ul a invitat n spaiul su logica performance-ului The Masquerade succeeded in its strategies to activate surprising choreographic the experience and the context produce layered (contradictory) significance and

66 De la hibriditatea inerent performance-ului la singularitate. S nu m prseti From the Inherent Hybridity of Performance to Singularity. Never Let Me Go 67
din artele vizuale (happening-uri, chance theory, mecanica corpului nevirtuos) i apoi, but different temporality, one night later, in the different medium of music concert
n anii 90, a urmat performance-ul conceptual, corpul ca discurs identitar i critic, pe performance and project Raze de Soare, together with Cosima Opartan - the more
filiera artei dansului contemporan, o art preocupat de nscrierea unei anume dorine plausible ending to the BHB presentation at the Center of Dance).
n legtur cu corpurile n micare, ntr-o experien determinat temporal. A multitude of undisciplined hybrid entities coming from different backgrounds
n aceste cercuri concentrice de semnificaii ntre contexte i logici diferite de lucru, a each surrounded by an abstract/affective space busy with alienating themselves from
aprut preocuparea de a formula limbaje noi, pentru a propune receptorului o altfel de interior/exterior perspectives, often reaching paroxysm and silence, or in which the
atenie i relaie. Parte din experiena spectatorului a devenit descoperirea codului. subject exercised its ability to withdraw allowing for something else to appear. A very
Clasici ca Jerme Bell sau Joo Fiadeiro au reuit, cu metodologii diferite, s fac vizibil manifestare, virusnd, n acelai timp, stabilitatea perspectivei individuale. E un soi de also affects the spectator, discovering the (newly) proposed code (and the relation political gesture - this fluid open system traversing symbolic and physical mediums
un discurs ct mai clar, apropiindu-se cel mai mult de mirajul unui neles comun poezie i se cheam filozofie. (Acest fel de a aborda limbajul, aplicat n performance, it established with a charged context) became part of spectatorship. Using different (The Center of Dance in Bucharest that hosted it for almost a year and still missed its
pentru spectatori, reducnd din subiectivitatea experienei. Logicile propuse de ei tot face ca experiena s fie singura certitudine etc.) methodologies, contemporary dance classics such as Jerme Bell or Joo Fiadeiro understanding, or maybe just got entangled in the disparate co-existence thing, and
ce apare pe scen e informaie i discurs, material de lucru ntr-o logic mai mare au Ce moduri noi de organizare a cunoaterii, a interaciunilor i a realitii pot aprea de managed to make the building or deconstruction of a code visible, getting as close as also exhibition or process-oriented spaces as Pilot in Cluj or Atelier 35 and ODD
devenit noi convenii. Jerme Bell a afirmat puterea scenei n timp ce a dezvrjit-o aici, din nevoia iminent a unei schimbri de paradigm conceptual, care s permit possible to the mirage of the audience common understanding of the same thing (and in Bucharest, Pa-f, Akademie Schloss Solitude, apartments, parks etc.) and only held
total. Corpurile performerilor amatori strigau discurs identitar fr a fi vorba vreo clip o astfel de ntlnire ntre oameni, lucruri, limbaj, medii, domenii, concepte, instituii, also the possibility for a neutral discourse). The logics they proposed everything together by the commitment of its members availability to allow for continuous
despre asta, ntr-o conversaie despre critica instituional i a reprezentrii. Bell a atras situaii? i care se regsete n mic ntr-o gam de experiene specifice receptrii that appears on stage is information (Real Time Composition method plus the Real/ immanent & circumstantial transformation in any hyper relation to a hyper black box.
tot aparatul critic structuralist n pliurile logicii sale. performance-ului. Hibridul cel mai puternic care apare n momente de singularitate open process implications) and discourse (critique, meta, stripping the theatre naked The consistencies and inconsistencies of the highly intense and also contingent BHB
Din acest moment, performance-ul nu mai poate fi despre ceva, enunat n textul este ntre interior i exterior, cele dou sunt supuse imanenei i formuleaz o nou but also while doing it etc.) and belongs to a larger logic turned into conventions. resonated with my own research for strategies to hold together (and coexist with)
acompaniator sau pe scen ca material de lucru. (Spectacolul Nud de femeie brunet al specie, dincolo de ruptura minte / corp. Nu chiar ontologie centrat pe obiect, dar, Performance could not be about something anymore, the performative logic implied inner contradictions and to make possible meetings between the immanent areas of
Andreei David, cu temporalitatea i dramaturgia propuse, nu mai poate fi doar despre potenial, o nou form de contiin. a strong inter-dimensional switch in perception. strange sensitivity, or between the singularities that traverse fields and planes.
feminitate i discurs identitar). Ceva s-a schimbat puternic la nivel de percepie, s-a Cadrul de lucru i via Black Hyperbox propunea fix o astfel de platform aerisit Also an inter/(even) trans-dimensional shift but a different one - the new species of Maybe this is why, in my latest research with choreographer Susanne Grau (a different
alunecat dintr-o dimensiune ntr-alta. Fiadeiro i a sa compoziie n timp real au propus i fluid, un gest ct se poate de politic, n adevratul sens al felului n care arta hybrids that come out of mixing hybridity and singularity are the ones feeding from kind of Masquerade), we try and train, body & soul, in an ongoing invisible deadly
o nou iluzie a unui soi de nivel 0 de obiectivitate i neutralitate a discursului. acioneaz i devine politic. O spaiotemporalitate n continu formare, n care nu se the technologies of interiority and exteriority, but also trying to surpass the duality serious negotiation practice between let me in/never let me go/leap of faith kind
Felul n care funcioneaz hibriditatea n singularitate, specia de hibrid care apare n rezista ntotdeauna uor i unde singura condiie era fix disponibilitatea reciproc de of a problem that is not small, such as the body/mind gap via the philosophy of of jumps and doubt, suspicion or fear, that lies underneath us meeting or not in the
urma acesteia, afirm deopotriv virtualul din lucruri, ca for prezent n lume, i transformare ntre interior i exterior, de mai sus. BHB a alunecat prin medii fizice i immanence (and not only in object-oriented ontology style) but by conceiving of same performative code or dramatic mode because, when she leaves me with my
interdependena interior-exterior, imanena experienei, ca mod de funcionare, simbolice, de la studiourile Centrului Naional al Dansului Bucureti (care l-a gzduit performance as the immanence of the practice and still formulating the potentiality melodrama and withdraws in neutral or even in alienating Brechtian mode, it is
organizare, ntlnire i existen. n orice aciune a noastr n lume, care treptat ne aproximativ un an de zile, ratnd nelegerea a ceea ce a gzduit), la spaiile Atelier 35 i for a new consciousness. One that allows for contingent encounters between people, because I am bad, and when I am bad, I really am extremely bad. It is like a sance -
formeaz ca subiectiviti, exist zone intense de umbr i indeterminare, ca un acid ODD, Paralel Fabrica de Pensule, Pa-f, parcuri, apartamente etc. things, fields, concepts, institutions, situations etc. and works at the energetic field level one could never know what lingers underneath theatre.
coroziv pentru limbaj i gndire. O mulime de astfel de entiti disparate, co-existnd, n structura aceasta rizomatic, bazat pe disensus, care propunea cercetarea limitei reverberating in how thinking is thought, affecting perception, action and language The voice (third person, but not only) and the perspective (moving) are fairly
n paralel, n companie, conectate la o preocupare entuziasmant i sensibile la mediu, performance-ului de black box, i a efectului de hiperintensificare, trecndu-l prin ct and trusts the spatiotemporality of singularity. (And it is the reiteration of the very important for you to access an uncanny space within the very language, as a line
nconjurate, fiecare, de un soi de spaiu abstract / afectiv, pe care i-l pstreaz n mai multe medii i contexte, fiecare i-a adus interesele specifice. Interesele specifice ale experience one could have receiving a performance). of flight between inside and outside (indirect libre style and multiple projections),
interaciuni (un spaiu individual de negociere / ruptur cu propria subiectivitate, un iniiatorilor, Alina Popa i Florin Fluera, distincte de cadrul conceptual, dei derivat The only possibility for language in this paradigm is speculative, another kind of where words, haunted, in Schieles continuous oblique gesture of wistfulness, do
spaiu protejat de perspective, exterioare i interioare, un spaiu de contradicie maxim din acesta, au fost realismul speculativ i studiul contiinei, amndou n relaie cu performativity, losing the capacity to fix, but, by irreverently devouring enormous not belong to persons, but feed and breed a new entity, a child loved too much, an
pn la linite sau n care ceva se retrage ca s lase loc de altceva). testarea performance-ului n black box. Cei doi se camufleaz explicit n concepte distances in significance while mirroring conceptual abysses, also diagonally making object of such intimacy that it dare not be allowed to live (J. M. Coetzee). You talk
ntr-o paradigm care aparine cmpului energetic, cu implicaii n toate planurile nomade, pe care le arunc nainte, iar arta lor nu este niciodat doar performance-ul x possible a kind of statement/existence lacking certainty/subject. about your research in the second person, you project on what came out of your solo
i care reprezint nti de toate un fel diferit de a organiza gndirea, percepia i sau textul y, ci parte din textura acestor constelaii puse n micare de anumite strategii Any action in the world that inscribes our subjectivity hides a shadow, an area of performance inside the BHB book, you ask questions and answer by association with
aciunea, felul n care e afectat limbajul (i noua lui posibilitate) este speculativ. Acesta (strategii acionate de ei i care acioneaz asupra lor deopotriv). intense indetermination corrosive for language and thinking. A gathering of these others research sharing the same spirit with yours. Why?
are o altfel de performativitate. Pe de o parte, i pierde din capacitatea de a fixa Cu background-uri diferite, majoritatea deja hibrizi, acionnd dincolo de discipline, kinds of shadows carrying the subjectivities along might have been from time to time Lepecki invokes the ongoing lives even if in another formation of matter of the close
lucrurile, ncurajnd fluiditatea, pe de alt parte, alunecnd ireverenios i incontient, suntem o adunare de entiti disparate, cu potenial de a deveni, on and off, o reea the work&life platform for performative research called Black Hyperbox, that artists ones dedicating the book to them and to the living ones. All of you, help me find the
transgreseaz imanena, oglindete, concentreaz i acceseaz abisuri conceptuale, de singulariti. (Alina Popa, Florin Fluera, Andreea David, Ioana Gheorghiu, Larisa Alina Popa and Florin Fluera initiated and that went on for the last couple of sense in that powerful, strange, fiercely joyful and crucial word singularity, he writes.
nghite spaii de semnificaie imense, iar oblicitatea lui face posibil un anume tip de Cruneanu, Ctlina Gubandru, Xandra Popescu, Cristi Nanculescu, Bogdan Blan, years in Bucharest.
afirmaie / existen, fr certitudine i fr subiect. Este o modalitate de a crea spaiu Cosima Opartan, Ion Dumitrescu, Bogdan Drgnescu, Anastasia Jurescu, Alexandra A platform for anybody to use as they please (and visual artist and acting-affectionate
sau cea n jurul propriei subiectiviti (strategie care m intereseaz) i de a produce Ivanciu, Adriana Gheorghe). Larisa Cruneanu decided to curate it by staging its spirit and, in general, she and
n ceea ce m privete, BHB, cu spaii, temporalitate, oameni, situaii i propuneri artist-curator Xandra Popescu traversed the BHB with their total curating practice
artistice, pe ct de pline de consisten, pe att de inconsistente, de folosit precum - accompanying artists in life and work processes for years); a platform based on
doresc (i toate tensiunile generate de aici), a rezonat perfect cu preocuparea mea dissensus (choreographers Andreea David, Ctlina Gubandru, Cristi Nanculescu
pentru strategii de a ine mpreun (i co-exista cu) numeroase contradicii interioare and Bogdan Drgnescu developed a dramatic larger than art borderline on&off
i de a face posibile ntlniri de o intensitate insuportabil ntre zonele de sensibilitate relationship with the black box, as we all did at one point, while for the visual artists
stranie, singulariti care traverseaz domenii i planuri. Anastasia Jurescu and Alexandra Ivanciu the black box proved a strange alien object,
Persoana (a treia, mai ales, dar nu doar ea) i perspectiva (n continu schimbare) sunt quite a refreshing perspective), inviting disparate entities to collaborate (alienating
Aurel Ilie performnd telekinezie n Mascarada lui HitGirl. Foto: Adriana Gheorghe, 2012 (pag. 60) foarte importante pentru tine pentru a accesa un spaiu uncanny chiar n interiorul oneself from the work by mixing ones own material with other perspective or Aurel Ilie performing telekinesis in HitGirls Masquarade. Photo: Adriana Gheorghe, 2012 (p. 60)
Mascarada, treizeci de minute mai trziu. Foto: Adriana Gheorghe, 2012 (pag. 61) limbajului, ca o linie de fug ntre interior i exterior (stil indirect liber i proiecii other material with ones own approach in the company of artists with practices so HitGirls Masquarade, 30 minutes later. Photo: Adriana Gheorghe, 2012 (p. 61)
Viena, 2015 - prima form a duetului imanent cu Alina Popa, un centiped prezictor spectaculos: o multiple), unde cuvintele, bntuite, ntr-un gest oblic de deplasare continu, nu beautifully different than my own, like Andreea David or Cristi Nanculescu, is one of Viena, 2015 - One shape of the immanent duet by Alina Popa and myself, a spectacular singular centipede
sptmn mai trziu mi rupeam piciorul. Un an mai trziu descopeream, n imagine, retrospectiv, mai aparin anumitor persoane ci alimenteaz o entitate nou, un copil, martor la the most intense memories) or to just co-exist (polyphonic undisciplined entity called inscribing ourselves, predicting me hurting my leg the following week or both our solos inside the BHB the
solo-urile fiecreia din BHB. Foto: Rodrigo Andreolli (pag. 62) intimitatea unei iubiri aa de mari nct nu ar trebui s continue s triasc (parafraz Bogdan Blan produces singularity just by showing up); entities sensitive to a shared following year etc.etc. Photo: Rodrigo Andreolli (p. 62)
Solo-reenactment al fotografiilor victoriene cu mame invizibile, abstracte, mbraind fiine imobile dup J.M. Coetzee). Vorbeti despre preocuprile tale la persoana a doua, faci proiecii, environment (agonizing over black box and ones own relating practice to theory Solo-reenactment of the Victorian pictures of invisible mothers caressing the abstract child or Spoils
cu ochi sticloi sau Prad. Foto: Adriana Gheorghe, 2016 (pag. 63) pui ntrebri i rspunzi prin asocieri cu preocuprile altora, n acelai spirit cu ale tale. while also consuming or being consumed by the initiators proposal of speculative (my solo inside the BHB). Photo: Adriana Gheorghe, 2016 (p. 63)
Par trist dar aa arat fericirea n adncuri. A vrea s ating din nou realul. Am fost la not i acum De ce? philosophy) and traversed by an intense preoccupation (the same agonizing over the I look sad but this is my deep happiness. I wanna touch the real again. This body is so small so full of sings.
ne rugm. Transcendem, pentru pace (Lilach Livne, Tel Aviv) Lepecki i dedic cartea, n chip surprinztor, vieii continue, chiar dac n alt margins of black box - the most agonizing might as well have been Ion Dumitrescu, Transcending, for peace. (test yourself, see how far or how close you are to receiving this)
Foto: Sveta Sheleg & Robert Zlotnick, 2016. (pag. 64-65) formaiune de materie i spirit a apropiailor i le cere ajutorul, lor i celor vii, choreographer turned musician and interested in theory, that cannot let go but Photo: Sveta Sheleg & Robert Zlotnick, Tel Aviv, 2016 (pp. 64-65)
Black Hyperbox la Akademie Schloss Solitude n cadrul evenimentului Dreaming the End of Dreaming pentru a gsi sensul acestui cuvnt puternic, straniu, nspimnttor de mbucurtor ties himself willingly and conceptually to the black box by not being present and Black Hyperbox at Akademie Schloss Solitude within the Dreaming the End of Dreaming event
Curatori: Alina Popa i Florin Fluera. Foto: Adriana Gheorghe, 2015. (pag. 66-67) i crucial singularitate (t.m.). announcing it, while being present, with all his black box skills, in the same space Curators: Alina Popa and Florin Fluera. Photo: Adriana Gheorghe, 2015 (pp. 66-67)

68 De la hibriditatea inerent performance-ului la singularitate. S nu m prseti From the Inherent Hybridity of Performance to Singularity. Never Let Me Go 69