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PerformanceProcess Basel 2017-2018
sun 01 Oct 2017
1
19h
Biofiction (2017)Kaserne Basel+41616666000

«Biofiction» is a rare love story between many, an unexpected clearing on a wilderness that offers a close-up on human and non-human assemblages and their affects. Situated within an inquiry into vibrant matter, a choreographic poem emerges that is both careful and utterly libidinal. Gathering the remains of the previous two works in «The Biofiction Trilogy» – the hot pink flesh placeholder, wood and crafting tools, the rope that weaves, the natural and artificial entanglement of fluids and materials – «Biofiction» creates a new horizontal terrain that renders a plurality of agencies without ontological hierarchy. What may ordinarily be considered inadequate stimuli is now attended to for all its sensual and specific qualities, cultivating an irrational love of matter. The intimate rapport, the dance that spectrums acts of labour, pleasure, cohabitation and simply ‘being with’ refuses the normative divisions between nature and culture, male and female or any such binary. A practice of reorienting and redistributing the senses generates a queer consciousness and affirms a landscape that is both present and utopian. We see stereotypes and prototypes, we recognize then delight in misrecognition, we may even laugh despite ourselves. Understanding Biofiction in terms of a narrative of sexuality that does not yet exist sustains curiosity - defying conventions or identification renders this choreographic work as a continuous world-building practice.
Is this movement research, music or fun post-porn practice? Beyond the associations, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.

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Biofiction

«Biofiction» is a rare love story between many, an unexpected clearing on a wilderness that offers a close-up on human and non-human assemblages and their affects. Situated within an inquiry into vibrant matter, a choreographic poem emerges that is both careful and utterly libidinal.

Gathering the remains of the previous two works in «The Biofiction Trilogy», the hot pink flesh placeholder, wood and crafting tools, the rope that weaves, the natural and artificial entanglement of fluids and materials – «Biofiction» creates a new horizontal terrain that renders a plurality of agencies without ontological hierarchy. What may ordinarily be considered inadequate stimuli is now attended to for all its sensual and specific qualities, cultivating an irrational love of matter. The intimate rapport, the dance that spectrums acts of labour, pleasure, cohabitation and simply ‘being with’ refuses the normative divisions between nature and culture, male and female or any such binary.

A practice of reorienting and redistributing the senses generates a queer consciousness and affirms a landscape that is both present and utopian. We see stereotypes and prototypes, we recognise then delight in mis-recognition, we may even laugh despite ourselves. Understanding «Biofiction» in terms of a narrative of sexuality that does not yet exist sustains curiosity - defying conventions or identification renders this choreographic work as a continuous world- building practice.

Is this movement research, music or fun post-porn practice? Beyond the associations, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.

Text extract from the website www.aughterlony.com

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