The “Lickture” series unfolded in autumn 2012 as a result of an interest in post-structural forms of choreography and the dismissal of the notion of the Other. The initial event (“White Words / Black Pussy” at Le Chien Perdu, Brussels on November 10, 2012) revolved around the following question:

“Although there is the individual, like capital one or capital I, and there is the thing which is shared by everyone, like capital C or the community or the communal:

1) A relation of love, where the one identifies with the other and there is a mix taking place of the identity of that capital I through the perception of the other.

2) An identification with beliefs about the other, or the beliefs that the other has about the capital I. How can they share this fluid identification, this fluid feeling of connection, of support and challenging, without feeling that need to possess themselves or anything?”

That evening the spectators’ chairs were donated to the public space, situated halfway through the performance.

During the second series of actions, the event revolved around a summoning of the surface: “Ten things to do before you die; neotopia at our window.” Looking at something disgusting until the reflex to vomit settles into perverse fascination. The actor came upon asking to receive a used tampon from one of the spectators, then crossing the stage, chewing upon it to spit it out as far as possible.

A third series included a cleaning of the exhibition space, the public space, and numerous common organic and artificial objects, with the tongue and a whiskey spray gun; subtitled “chronos likes banana’s”; an immutable rite of Marcel Broodthaers’ grave, with the following quote by Deleuze: “Either ethics makes no sense at all, or this is what it means and has nothing else to say: not to be unworthy of what happens to us” (Deleuze, Logic of Sense).

The “Lickture” series serves the transformation of spectacular formats into other forms of choreographic and scripted experiences on sense, without any previous mental construction anticipated. “…it was live, and it was art, not theater. Performance Art also meant that it was art that could not be bought, sold or traded as a commodity.” The individual—being a source of action in most relevant economic transfers—defines his/her abilities to execute any voluntary type of movement, in order to achieve his/her desired outcome. The division of time is reducible to a relative minimum instant of singular operations. In other words: to count time by action, not in duration. That’s another question: now.