New dance (2011)

“New Dance” is thought of as a reflection of these two terms:

If art is a material-driven process of production then the relation of the artist to her materials is useful to consider. Closure proposes a twisted type of interaction between the artist and her materials that is built on a practice of severe self-discipline. Rather than seeking relations to materials through affordable modes of interactions (See: Openness), the artist works to embrace the logic of rigorous closure. Closure can be understood as involvement and collision with materials but without an emphasis on common­alities because common­alities are affordances, they propose an affordable type of interaction for the involved parties. Closure proposes that the work is created not on patterns of common­alities but on patterns of intrusion or an unwelcome addition to the work by the materials. During the movement from the idea of the artist to the physical materials, the materials hijack the artistic process of production, the materials install a traumatic drive that opens the work process. It is a twisted type of openness of the work process, and therefore a type of closure, here the artist is not being open to the materials but rather being opened by the materials. The more closed a work, the more radically it is subjected to the materials and their intrusions, interventions and twists. Instead of giving the artist an opportunity to create things by reflecting on her materials, closure gives the artist an opportunity to see the work as a reflection of the materials on themselves, their secret collusions, conspiracies, antagonisms, indifferent attitudes, and their weird twists in and out of the possibilities they bring about. Therefore this form of work more than anything presents the culmination of the expression of materials with regard to the artistic production and the artwork.

Open-ended work process or affect-driven work process puts the focus of artistic work on the possible interactions of the artist with the people and materials she works with. The work process is then required to sustain an ‘openness’ to the environment the artist lives in and to the cognitive capacities and affordances of the artist because the artist wants her work to be affected and open to her surroundings and to the circumstances the work is produced. This state of ‘openness’ restricts the work to affordable expressions of materiality and human relations in artistic production. When an artist insists on the ‘openness’ of her work process she will not produce any more limitations to her work, therefore there will be no restrictions or resistance other than the ones that are already in place, which are the restrictions that are installed before the work began. In these circumstances also the materials the artist works with are subscribed to these circumstances and will not gain their own specific expression but rather acquire the properties of the affordances under which they were produced. In these types of works, when the artistic product is an expression of what is affordable to the artist, it is recommended to work with the notion of closure.

(Both terms are appropriated from “Contingency and Complicity” by Reza Negarestani)

Choreography: Uri Turkenich
Performed by: Ludvig Daae

Presented at MDT Stockholm as a part of the festival “OK SHOWS KIDS RETURN” – MyChoreography Spring Shows.

Video by request.