Tackling concepts of becoming, affective transmission and the productivity of errors, the space between performer and audience is proposed as one where a dynamic conception of time is asked of the audience. The audience is invited to sit, stand, lie or take any other conceivable position.
For Maria Hlavajova, the performance was a way of rethinking the vocabulary of art today – through the artist’s terms (holding, walking falling, and improvising). She questions whether what was performed was really improvisation, and asks, “what art can do in the time of interregnum, when the old is dying and the new cannot be born”. Hlavajova considered the work to be a way of dealing with or making a new conceptual vocabulary.
Bassam el Baroni noted that there isn’t anything wrong with rehearsed improvisation and that in a sense, improvisation happens in the way that the audience “responds to what you are making us do.” Saying that what Cachucho set up is relational, he also remarks that it’s “calculated in the sense of affectivity…I could trace the kind of awkward moment where I realized you were acting because of the visible stress on your legs.” In that moment, el Baroni observes, the question Cachucho asked became important because it is strongly connected to the idea of affectivity. “Should improvisation be affective?” There are, el Baroni suggests, even more philosophical questions about freedom that arise in relation to the performance regarding the artist’s will and how it affects others.
Marina Vishmidt found a “consistent thread in the poetics of error, noticing a tension between consciousness and unconsciousness – in art.” For Vishmidt, the performance set up a tension between deliberateness and error, played out in a “transcoding of errors…performance as a technology of errors” such that, “mistake and action reinforce or destruct one another. This performance works as an illustration of embodied learning, adding to a milieu of other bodies, making errors as you are learning”. The cloth is also a system of signification, Vishmidt continues, and the layers of signs appear in different media and performance (referencing Roland Barthes) in a counter-tradition of modernness. In this way, the “body comes to seem like a recording technology of errors.”
2015 – Do the Right Thing, Dutch Art Institute.
2015 – In the frame of Roaming Academy: To Make a Work- Molecular Revolutions. Casa do Povo, São Paulo, Brazil. Tutoring by Grant Watson, Yael Davids and Wanderley Moreira.
Dutch Art Institute – Itai Barlasov