Premiere @ MAI (Montreal, Arts Interculturels) June 4th, 5th and 6th 2019
Radio III, by Zoë Poluch, Hanako Hoshimi-Caines and Elisa Harkins, combines sculpture, sound, and the body. It is a dance performance, a triptych of wallpaper, a perverse triangle of shifting power that seeks to be unfaithful to Minimalism’s recognizable aesthetic and its claim to so-called ‘neutrality’.
Departing from the ontological, physical, emotional, historical and political associations that emerge from the number 3, we materialize dance and music attempting to explore the basic units that compose narrative and meaning in a phrase. We are doing this through simultaneity, both as a working method and as a way of composing the performance. We are asking how we can make materials co-exist: our respective, autonomous artistic practices, our shared and not shared genealogies of art knowledge/making/education, our shared and not shared cultural backgrounds. Simultaneity has political as well as aesthetic implications; it calls for the co-existence of things and proposes a way of practicing the pluralizing of spaces. We are attempting to object-ify our individual expressivity, dance histories and aesthetic/cultural references. How can we propose a weak ontology of the art object, an ontology that is supple, fluid and relational?
Exhilarated by a common interest in minimalism in art and music, we are asking how we can work on the performativity and spatial principles of minimalism while being unfaithful to its recognizable aesthetic and its claim to so-called ‘neutrality’. We are on the lookout for a dance that haunts the recognizable toolbox of abstraction, form, repetition and pattern by making visible what should not be seen. We feel compelled to explore a dance that is vested in expression but not (only) in self-expression. How can we diffuse and displace the expressive and physical dynamics of the dance and music material? Where can we go after the minimalist turn of Yvonne Rainer’s dramatic No Manifesto’s negation of spectacle, virtuosity, image and style other than to Mette Ingvartsen’s subsequent Yes Manifesto’s reformulation of virtuosity? What could be a third? When in a bind, caught in the antagonism of the binary, add a third. We are interested in exploring the poetics and the politics of a third: not to locate and to position this third (do we really need more than left, center and right, beginning, middle and end?!) but to generate a methodology that works on positioning as a verb which entails noticing changing relations without staking ownership on a particular place (conceptual or physical).
We are using the notion of the background (as in background/foreground) as a way to investigate the relations through which things are made visible and invisible. We are looking into the image and function of wallpaper and the (invisibilized) backup singer to help us make dance scores, influence the dynamics of our dancing and music compositions, unison movements and the imprinting of a room with multiple and simultaneous patterns.