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Dwinanda Agung Kristianto
PHASES OF THE IMMINENT


Rumah Tangga Living Arts Museum (Depok, Indonesia) x Sepersepuluh (Jakarta, Indonesia), Depok, Indonesia
performed twice in 2019

CHELSEA COON

@all_anything


chelsea.e.coon@gmail.com

PHASES OF THE IMMINENT
CHELSEA COON

When stars die, the particles are expelled back out into the vastness of space. Over extended intervals of time, fusion occurs from which new stars form. “Phases of the Imminent” is a six-hour performance structure that mirrors the processes of particle dispersion and (re)accumulation, and the inextricable interrelationship between the body and the space to discuss the potentials which extend beyond the limits of the observable universe.

I began with my body positioned at a central point within the inner space of the composition, and remained in a kneeling position for the entire work. In the central point, I had a large pile of mirror particles. Over time, these mirrors would be the matter that would result in the making of six successively smaller orbital rings, starting from the outermost limits of the structure, and moving inwards. Each orbital ring marked an hour of my existence in the structure. To make these orbital rings throughout the performance, I took small piles of mirror in my hands from the center pile, and with calculated pace, I moved my body within the structure by gripping my hands to the floor and pushing my body weight through my wrists. I put the mirror into the lap of my dress and from there I transferred the mirror down to the floor.

As the performance unfolded, each hour resulted in a successively smaller orbital ring inside the outermost ring. An additional element included an audio recording of a black hole mergence, which played on loop for the entire piece. This audio sounds like a heartbeat and a breath being attempted under water. The utilization of the playback on this subtle audio recording further emphasized the multiple, simultaneous levels of body and space interrelations.

At the end of the piece, I was oriented back where I had begun within the central point of the structure. I remained within the space I had made; a space which had closed in on myself. From a kneeling position, I folded further and placed my forehead to the floor. I remained for several moments before I got up and walked out. “Phases of the Imminent” articulates that nothing in the end is ever truly lost, rather the forms change, energies shift, and what occurred in previous phases is inextricably linked to the informing of that of which is imminent.