Research Catalogue

P.A.F. is a project designed to give visibility to road defects that can become obstacles in urban traffic. Taking care of our cities is a real challenge. In Europe, tourist and historic districts are subject to rehabilitation, leaving other areas neglected. Awareness starts with the importance we attach to things. Making things visible is a way of raising awareness. Our cities need to be inclusive, and we need to take care of them in order to take care of our bodies and our uses. The city studied here is Porto (Portugal), but the project is adaptable to a European scale.

This is an archiving project initiated by Siobhan Davies Studios, UK. The Archiving of the performance work "Truth and Transparency" Questions what it means to archive dance as well as what happens when a dance is archived acknowledging that some types of choreographers' work have historically been archived while other types of choreographers have not. What does it do to a dance and choreographer to be archived? This project is also interested in the changes in the creative process of performing the dance which was first choreographed in 2007 and is now being given new life through this archiving project. Truth & Transparency (2007): a performance work for three (two performers and one dancer manipulating projected image onto the performance space using a mirror). The work was inspired by Ralph Ellison’s ‘Invisible Man’ and Adesola’s reflections on bringing up their own children as two masculine presenting Black youth at the time. The piece researched Step and Crumping dance forms as well as foreshadowed new technology using projection in real-time to manipulate the audience’s perception of dancers and space.

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Much of Janine Antoni's work is about the female body and cultural identity.

In January of 2022, I traveled with my family to Catarata Gocta, a two-tiered waterfall in the high rainforest, just outside of Cocachimba in Peru’s northeast. I seized this opportunity to conduct an artistic research experiment combining field recording, mystical participation, dream work, philosophy, and psychology. I incite and analyze dreams, peel back the perverse layers of my capitalist induced fantasies, exhaust liquid metaphors, engage in forms of mystical participation, discuss whether it’s even possible to record a place at all and draw connections and conclusions whose coherence is, well, maybe not so coherent. This essay touches on Sonic Journalism, the psychologies of Jung, the art criticism of Sontag and Berger and the art of Cage, Duchamp, and Hunter S. Thompson. The field recordings and images presented here are shreds of evidence supporting my own twisted brand of Gonzo Journalism. It is a tight rope walk across microphone cables and book spines, fueled by coffee, internet databases, and obsessive listening. The gravitational current pulling the waters of Catarata Gocta earthward is the dense center around which this essay orbits. Stretching across its horizon, I feel myself emptied, my thoughts laid bare and made available for self-examination.

This article provides insight into the choreographic situation LUFTIG, where the idea of air as conveyor of tactile experience is passed on, reworked and performed by children and adults. It examines how shifting the focus from movement language to a distinct expressive idea affects the choreographic process, and looks at how involving young people as choreographers and choreographic material affects the aesthetic experience of the now for artists and audience. Drawing on Tygstrup's idea of transformative time (2018), Gumbrecht's concept of the broad present (2018) and Taussig's thoughts on the adult's imagination of the child's imagination (2003), the author argues that in performance work where children are both choreographers and choreographic material, the adult’s imagination of the child’s imagination and the actual actions of the physically present child are at the same time mutually dependent on and at odds with each other, leaving the adult teetering on the edge of contemporary reality and primordial retreat. In the work proces, the child has a special propensity for easing the work for all which can only be deployed if we are able to circumvent tendencies of mutual projection of imagined imaginations. This requires a singular work process, where we - children and adults alike - can inhabit questions together without relying wholly on our previous knowledge of and experience with known performance parameters.

Our main interest is based on understanding spatial relationships from first-person experience, from our virtual and real body. Through the act of walking, movement in real time, we become cursors that dash across the interface of reality. A continuous process that brings us closer to the production of meanings, new relationships and representations, and also a dialogue with space and time, and the network. This article seeks to present a series of disruptive experiences, documented by the authors themselves, which constitute an exploratory framework of space to discover different symbolic interrelationships, and sketch out constructions of the common space in haptic, political, social and cultural mode. It offers a repository of unexpected, intersubjective encounters, from the empirical practice of walking, which arouses new perspectives to be able to interpret circumstantial spaces, to lose oneself in ‘non-places’, or reflect as to how to approach the landscape and/or the city by opening new imaginaries that add value to the ‘glocal’ place that we traverse and/or inhabit.