Performance choreography confers a sense of futility when artists withdraw a certain control; reflecting our post-truth reality when identities have been thrown into flux. What is left are some fading echoes of mellow music, emptied pill bottles and a lingering smoke of an extinguished stove pot; when one’s relationship with the world is starting to feel sensorially instead of cognitively, texturally instead of textually.
One collaborator was placed at the overhead balcony, reading Brian O’doherty classic in institutional critique; another flashing impeccable visuals of Sadie Coles on a Mac screen. A dated glass bottle was left on the floor, a relic of the cheap red wine served to examiners during my degree show performance. Sometimes she ponders if the metamorphosis of the white cube in ‘Prototype (_m2)’ might have revealed too much: ostensibly a sense of skepticism was meandering in the air. In a ‘Kafkaesque’ way, is there trust?
Some truths are more vividly felt when expressed in artistic lexica. Morphing world views into poetic encounters is to perhaps unleash the inexplicable to transgress boundaries of linguistic device, generating a space for probing social issues and revitalising marginalised yet equitable narratives. Alternative truths are sought in an essayistic practice, a learning of equivocal language through fiction and fragments.
Email kwanque at gmail dot com
2021 March Deep City Symposium, EPFL
2021 May Venice International Biennale of Architecture
[ Hong Kong Pavilion ]
'Performing Weedist', AI & Society Journal - In Process of Peer Review