Vagabondage Nocturne, 2008 © Anderwald + Grond photo
© Anderwald + Grond
Lecture Performance by Robert Prosser at Academy of Fine Arts, Vienna.
– See also Dizzy on Stage. Trance in Anthroplogy and Practice.
At this stage of the “just before”, of the potential, the ambiguous, the non-separation – the work of art avoids to come about, to take place because if it takes place, it is only this and not as well that anymore, it becomes exclusive. The great oeuvre keeps itself at work, because it keeps itself at this stage of the “just before”, “upstream” of a definitive actualisation, which would follow its definition.
If one notes the amount of staggering performed or stammered by characters in Waiting for Godot, it can be quite surprising. In fact, few plays contain characters that spend as much time stumbling or tottering about the stage. It is almost as if they are sailors in the midst of a violent squall, but this is not the case.
Recordings of the one-day symposium at the Westminster University held together with the exhibition of Catherine Yass’s film works in Ambika P3, London.
Choreography is a coward’s excuse for control. Choreography is a futile attempt at seizing power.
More than ever before, our world appears to us as an animistic world, as a reality in which basically everything – things, plants, machines – can be experienced as animate in some form or another and, accordingly, as alive.
This program examines the glances, gestures, affects and fluids that circulate between filming and filmed bodies, celluloid and screen, fantasy and pleasure.
