GRINDER-MAN

Mirage
“MIRAGE” is the first performing art ever in the world to experience with immersive. This experience reminds us that we generate ourselves at each moment in our highly subjective ambiguous world. Unlike the general performing arts for the several audiences, “MIRAGE” is generated by the interaction of the two dancers and the one participant. As the participants, you are invited into an 8 minute immersive experience, using a head-mounted display fitted with headphones and a camera to capture live scenes. While unaware of the participant, dancer in front of the eyes is changed over to the dancer that has been recorded in advance. In addition, by overlapping the live scene and recorded ones, participants will experience simultaneous past and present. It is very difficult to tell which dancer is really existing or which is not. Each participant will be required to discover their own “reality”.

KRIS VERDONCK

I / II / III / IIII

In I/II/III/IIII, choreographer and visual artist Kris Verdonck transforms the stage into a life-size dollhouse. Four female ICK-dancers – not unlike marionettes – are floating in mid-air, suspended from a huge machine. A solo, a duet, a trio and a quartet follow one another in this choreography of identical movements. A game of surrendering to the machine and at the same time, searching for control. The images evoked by I/II/III/IIII are confusing and ambiguous: the dancers almost look like graceful, fragile swans … but they also remind us of animal carcasses being dragged along, floating angels, falling human bodies and everything in between.

Elmgreen & Dragset

マイケル·エルムグリーンとドラッグセットのエントリ
МАЙКЛ ЭЛМГРИН И ИНГАР ДРАГСЕТ

Collaborating together since 1995 on performances in their early work and now more on creating objects, Michael Elmgreen & Ingar Dragset, raise in their interdisciplinary practice a set of questions concerning the spatial construction of the self and the enforcement of normative behaviours within the architectural frame. During the past few years, Elmgreen & Dragset have been working on the intervention and modification within the White Cube. They create awkward and often cynical situations with objects of everyday life, constantly redefining the familiar. These disruptions of reality are transferred to the gallery space, thus giving rise to new ambiguous spaces.

Heather Phillipson

100% Other Fibres
Through collisions of image, noise, objects, language and bodies, Heather Phillipson’s videos and sculptural installations behave as places, musical scores, poems and nervous systems – attending to how physical and affective ‘selves’ are constructed, manipulated and, above all, escape. Often rendered as walk-in conglomerations of readily accessible materials (digital images, paint, cardboard, words, audio loops and reproducible consumer detritus), her works stake out an ambiguous territory in which cultural references and emotional responses are mutually contingent and reactive. Collapsing distinctions between the forthright and the inarticulable, the banal and the ecstatic, and between metaphor and extreme literalisation, Phillipson’s work performs constant tonal shifts, disruptions and bleeds. In so doing, it oscillates between physical intimacies and conceptual distances – desire, sensuality, touching and being touched, shame, anxiety, (over-)exposure, resistant surfaces.