We are interested in challenging dominant individualistic narratives and creating space for alternative modes of relation to emerge - between bodies, theories and structures we inhabit. We embrace difference in tools and aesthetics, seeking intersections rather than uniformity.
The relationship between art and everyday life is central to our practice, as we understand the two to be inseparable. Performance, therefore, becomes a space where we experiment, explore, and negotiate different possibilities of being together. In this sense, we are committed to artistic processes that are socially informed. For us, performance is a site where imagination is actualized, interconnection is practiced, and both desired and existing realities are negotiated.
Friendship for us is not just a theme, but an emotional, mental and physical field where we can grow and nurture together across our differences,
a necessary condition to survive the individualistic regimes˙ and realize the power of the space between us
a method for horizontal systems based on reciprocity, mutuality, plurality and relationality.
We perceive artistic making as a space where society can be examined and rethought, one that allows alternatives to be actualized and shared. In line with our urgency for keeping the connection strong between art and everyday life, and in times where world becomes exponentially more hostile, friendship has emerged as a necessary frame through which to reflect on existing conditions of working, creating and living. Relationality, support, heterogeneity and mutuality of commitment are among the key pillars we explore by being together, writing, visualizing, reading, talking, philosophizing, moving, embodying.
Our inquiry into friendship has also raised questions around the relationship between privacy and the public; (en)closed systems and accessibility; aesthetics in which friendship is represented.
How can we work on and through friendship without exploiting it?
(more questions)
This is a continuous archive of these processes.
a necessary condition to survive the individualistic regimes˙ and realize the power of the space between us
a method for horizontal systems based on reciprocity, mutuality, plurality and relationality.
We perceive artistic making as a space where society can be examined and rethought, one that allows alternatives to be actualized and shared. In line with our urgency for keeping the connection strong between art and everyday life, and in times where world becomes exponentially more hostile, friendship has emerged as a necessary frame through which to reflect on existing conditions of working, creating and living. Relationality, support, heterogeneity and mutuality of commitment are among the key pillars we explore by being together, writing, visualizing, reading, talking, philosophizing, moving, embodying.
Our inquiry into friendship has also raised questions around the relationship between privacy and the public; (en)closed systems and accessibility; aesthetics in which friendship is represented.
How can we work on and through friendship without exploiting it?
(more questions)
This is a continuous archive of these processes.
Friendship is an extra kin Against isolation As love care and reciprocity cannot flourish in An extra skin against oppression an interdependent interconnected body A sticky body With horns wings claws teeth and oversized hearts A monster an anomaly a circus freak Amid the sea of male tradition Rust spreading on the sterilized gears of our overworked machines
Anti-individualistic
Anti-essentialist
Anti-possessive
Anti-instrumental
Anti-productive
A metastable zone where difference persists without domination.
It is movement
It is ontological openness
It is morphology
It is topology
learning each other comes naturally and lovingly.
to lose the fear that they will leave because they have stayed so far. to hold each other accountable, and to stay. to stay because we hold each other accountable.
I am learning that friends are the ones who you learn to build boundaries with.
I find friendship as if finding a whole new world behind a raging waterfall.
The diagram visualizes proximity, influence, and resonance. Some connections are methodological, others conceptual or affective. What matters is not origin, but entanglement.
This is an attempt to make visible the field in which our practice moves, a relational structure that remains dynamic, unfinished, and open.
NOTES ON FRIENDSHIP,
A CONVERSATION WITH
JOHAN FREDERIK HARTLE
Céline Condorelli
Imaginative performance as method
The function of imaginative performance method is twofold. While we embrace working across our differences, this method acts as a distillation tool, shedding light to which elements persist, which continue to surface in the immaterial dimension of our research, and what emerges as shared ground.
This method is employed also as an instrument to examine and reflect on how theoretical concepts are being translated into structural elements (actions, scenography, composition), as means of navigating the relationship between theory and practice.