The performance unfolded like a testing ground for something ongoing, its complexity extending far beyond the confines of the gallery or the art context.
The sound of the rabble and the friction of crawling bodies on the floor was fed back to us as something we already had produced together, without noticing, from before the start.
L. Martina Young makes words dance as she explores the history and symbology of the arabesque.
If voice-centered practices are increasing, it is worth asking why. Perhaps there is a desire to have more meaningful public and communal experiences with otherwise sequestered feelings.
