8th to 9th April




ANNE JUREN, Studies on Fantasmical Anatomies

© Karolina Miernik

Choreography inscribed in the body: relations, images, phantasms and actions
This  Studies on fantasmical anatomies is based on my artistic experience in unfolding the relation between movement and language as a choreographer, dancer and Feldenkrais practitioner. As a method of investigation, I create choreographies in the format of experimental somatic sessions. Using spoken language, I open a creative space in which the choreography and the dance is placed directly inside the person's body. Each session proposes different choreographic strategies and body practices related to the text and its multiple images of the body, to the body's boundaries and to its limits, proposing dysfunctional relations, unexpected images, possible phantasms and imaginable actions.
The choreographic session I will propose for the seminar will explore how phantasms trouble some established notions of anatomy. How can the images of the body be integrated into the sensation itself? Do the images create the body, or does the body create the images? Is an action possible inside this entanglement of perceptive events? How far can I go with the body's transformation, with its disfiguration, together with the person in whose body the choreography is taking place?
Some larger questions grounding this research address the concept of the body in our post-human time, the frontiers of the body, what defines the conception of those limits and how far these apprehensions can be transformed.






I'm interested in physical caring as a relational and aesthetic practice; as a negotiation of constantly fluctuating needs, capacities and interests. In particular I'm working with ideas of passivity, consent, force and intimacy.

I am framing such practices within the idea of 'choreographic ecosystems'. These might be made up of objects, scenography and architecture, sound, lighting, scores, traditions, individual people, clusters of people/ relationship, animals, atmospheres and other things. Importantly the people within the ecosystem each have their own choreographic agency.






– Duration is for time what is intensity for space.

– Also the physical leaves inscriptions: entropic flows, feedbacks, transgressions.
– Art as a magic practice without power play.
– Fathomlessly seeking simplicity anyhow: colours, sounds, desires, depressions, textures of matter.
– Clothes are agents - they want to travel, and they use us people to go to unknown places.
– The idea of cinema seen as an image for a workshop - a cinema without screen.
– Temporary constellations.
– What if Performance Art is not known yet.

What else is necessary?  Noises, movements, pictures, words probably, presences and absences. Some awareness and listening. Scores to fold action and fictions. Scores to discover what is going on. Scores to support memory and construct frames for translations. We develop them. Together. The participants, are invited to engage with their artistic and daily practices, occupations and desires.

Wohnung.Miryam.van.Doren from the artists: link

10th to 14th April






Tourbillion via studio practice + field work observing and making subtle and not so subtle things.

In thinking with Eduard Glissant the notion of a Tourbillion is proposed as a place and a way to find out about together.

Directed silent field trips to the library as well as to a wilder terrain will serve the studies;

Directed sprees for collecting specific qualities of forlorn stuff for the collaborative assembly of a practice habitat is relevant.

10 liters of fresh horse shit per participant as well as  fallen fruits, small squished cartons, keys and handfuls of tiny shiny things are all invited to the encounter and assemblage of practices of Tourbillion

To do:

Katas and body puzzles.

A kata is a martial arts devotional drill practiced alone without application in preparation for battle.

A body puzzle is a technique for questioning what dance can do,  producing new ways of thinking and dancing

To discuss:

supplanting the business of spectatorship with the practice of witnessing 

how the companion materials or situation may become the choreographer of the body

the underbelly of the choreographic, architectural  and social problems of hospitality and inviting being seen

Orientations/ Habitat / Dispositif

An accumulative messy study leads somehow towards the public exhibition of a 3D action sketch of some thing

A Katapult: Volumes I – III for ensemble and individual players.





JENNIFER LACEY, Ask an American


Identity politics serve different purposes in the political arena than they do in the art.  Art is the place where they can insist on staying in movement, in fluid definition, where they can exist with a sense of play and mutability. What do we do then with the very boring idea of national identity? For those of us who are able to, it seems more and more a privilege to be able to ignore how our bodies (minds) are formed by this judicial and potentially scary category. I don't know how we will do this as I haven't ever given it much thought before, we will have to do it together. We will use my habitual tools of dancing, writing, exchange and inventing structures. Probably we wont stay in the studio the whole time.





ALICE CHAUCHAT, Dancing as Joints, or Inhabiting Together the Gaps Within and Among Ourselves*


Dance is for me an experimental frame in which I can think and practice, together with other people, a social and entangled subjectivity: I-as-part-of-we, I-through-we, I-in-we. This is not an independent 1st person perspective, but a 1st person singular that exists within and in relation to a 1st person plural. It exists within and in relation to multiple WEs. This is a self that is responsible for itself and for its environment(s), that takes responsibility for the context(s) it is a part of. It is also a self that is response-able to its context. It changes and is changed. Porosity is the main quality of its borders. Porous borders are its main material. These favor leaks between language and image, imagination and sensation, individuality and collectivity. Agency is enacted as we compose pathways across these thresholds.

I frame, host and animate situations in which dance is a lens through which we can experiment with and practice such an understanding of agency.
I devise and practice dance scores, that are to be danced by more than one person. A score is a formalized object that motorizes and frames a dance. It is a conceptual hypothesis which may be tested, a chance to develop relational modes that may otherwise be overlooked. It is a fiction within which we can speculate. It is a generator of experience, and experience is a thought process. Devising frames of experience is devising frames for experimentation, bringing into play our knowledge, thoughts, sensations and desires in specific configurations.

A score is a set of instructions, which may include words such as tasks or stories, tone and timing of voice, and which turn the dancers' attention to various elements of their activity. I choreograph by directing the dancers' or the audience's attention and by setting up principles for how to engage with oneself and with each other. My scores generate choreographic models, social miniatures through which dancers practice a sociability. These relational structures feed nuanced relationships, focus on alterity in order to expand the territory between intimacy and distance, and weave their entanglement rather than balancing the scale between consensus and dissensus, or conflict and harmony. Leaving aside the logic of identity, they carve out a sense of unconditional empathy, one that refuses any verification and that relies on a sustained commitment. They also are a chance to practice multiple, split attentions within oneself as much as towards the others.
In my performance work, I look for ways to articulate this embodied, reflective adventure, outside the dance studio.

* thanks to Peter Pleyer for telling me that joints are where bones meet and where they separate.

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