Images/Installation/Movement/Action/Sound

• a deep red square (woven floor and low ceiling, lit with red light)

• a pulsing and speaking-floor/world

• a scored movement duet situated in an installation

• enter with lips “sewn shut” moving towards mouths wide open-mouth-to-mouth (shared blood, beyond a kiss, a radical meeting point)

• Movement details a grid like a chess game. Needles removed, we move together mouth to mouth (bleeding-however, blood becomes “swallowed” by the red light-thus embedding the “spectacle” of bleeding (red fluid against the skin) aiming to work strictly from the “action” of bleeding as a movement instigator, as a feeling (the feeling of bleeding as a improvisation source, of speechlessness/silence/a sealed -valued- vault of memory)

• A breakout work integrating a boundary pushing link-sharing fluids, wide-open mouth against mouth. Devastating at first, perhaps, like a great kiss, a clumsy fuck that slides into something high-pitched like a scream-the space where falling in love and loss looks the same. This piece is also examining the break of a promise, expectation.

Possibilities: the list memorializes but also excludes. a terrible loss-a gap in time-timing-the devastation of aging, becoming redundant. the ruptures and resistances of legacy, expectation, sense of entitlement, loss, identity-shattering, the insecurity of leaving to build in the unknown. off/under the grid. departing from performance-as-spectacle. love affairs break under these same pressures. addressing change in the matrix. aiming to research spaces of the in-between, creating and remembering multiple worlds, resistance and intimacy, naming, legacy, memorial-addressing a personal marking of time, gains, losses and that “we are made of names.”

We are mixing spit and blood-our own, with the others’.

• Fred Moten (from Harriet blog re: reading Zong!): “A lot of it is just trying to figure out how to say something. How to read. Not how to offer a reading, or even an interpretation, but a performance of a text, in the face of its unintelligibility, as if one were forced/privileged to access some other world where representation and unrepresentability were beside the point … I don’t wanna represent anything and I don’t want to repair anything but I do wanna be here more in another way… even if it doesn’t work this way I want it to work this way. I want to work it this way, in coded memory, as the history of no repair, as the ongoing event of more and less than representing.”