Since I started making choreographic pieces, they appeared to be a means for encountering people in strange yet pleasurable manners: a fellow artist, people from the audience, a group of people for a moment of studying… In a materialist, pragmatic approach, my decisions were always based in the context, being unable to have any form of idea prior or separated from that. Once I understand the conditions, to me making a piece means to host a situation (from a one-to-one duet, to a group reading that lasts the whole night) in which all present can learn something, perhaps be slightly transformed. Weather it uses dance or sound or text as materials, the point of the work is to become an alibi to allow unconscious under-layers of affects, energies, imagination and sensation to come to the surface – slowly, through time.
Since I was invited to curate a program for the Gessnerallee Zurich, I continued doing the same: from the very material conditions given (what spaces can we use, how much time do we have, how much money can we use), I intuitively navigated towards hosting a group of people with whom we could learn, which means opening spaces of vulnerability where we can destabilize what we think we know. A situation where we could trust the idea that if the works share a common invisible under-soil, then that soil will sustain us through the time that the situation will last. The clear material framework (distribution of time, space and resources) allow all participants to access the more intuitive and invisible layers of the works. Holding the hypothesis that these works and these group of people are somehow feeding themselves from the same zones of the collective unconscious, but the manifestations might be extremely different. As with my choreographic work, the material elements are there for us to encounter the unknown, as a curator I don’t care about knowing or having even seen this or that particular work before we come together, since it is in the meeting of the different elements, that (un)learning can happen.
From being a choreographic artist being invited by institutions, to being a choreographing curator inside the institution, very little has shifted then. I see a continuum between my choreographic works and my work as a curator: to circle, to contain, to host, to speak less, to listen more. To move out of focus and let improbable encounters take place.
I would like to use this space in the same manner, to follow that gesture of moving slightly out of focus. Instead of speaking of curatorial practice, doing it.
Today I welcome texts that were written by artists invited to be part of my curatorial proposal at the Gessnerallee: El Caldo/The Broth a 4 days festival that takes place every year. One written for the first edition of the festival (2021) by Tamara Antonijevic, the other for the second edition (2022) by Simon Ripoll-Hurier. I leave the floor to them, knowing that these two texts speak better of what took place in the walls of the theatre than anything I could account for myself.