SOLO…? Aitana Cordero | “Moving as Thing: Choreographic Critiques of the Object” de André Lepecki

El Domingo 15 de junio a las 19.30 en el Patio de La Casa Encendida podremos disfrutar la “pieza coreográfica” de Aitana Cordero “SOLO…?” presentada por primera vez en 2008. El teórico André Lepecki escribió sobre la misma en su artículo “Moving as Thing: Choreographic Critiques of the Object” publicado en el October Magazine 140, Primavera 2012, pp. 75-90 © Massachusetts Institute of Technology.

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Os dejamos la parte que habla de esta pieza, así como el link al TEXTO original.

Solo . . .? introduces a very explicit link between revolt and revolution, where violence emerges not as destructive force but as the necessary action to break free subjects and objects, and reveal a shared mode of being thing, and moving as thing.

The paradox of any thingly investment in creating art turns on the fact that even as a work proposes modes of becoming-thing, the work itself remains, obviously, an art object. This is the inescapable limit that thingliness places on all representation it lies at the threshold of objectivity, just as it defines the outer border of subjectivity. And, yet, the current choreographic interest and investment on thingliness is precisely where such a paradox becomes not a dead end but a source for energizing the links between art and politics, subject and objects, performance and its effects. Within the regime of expectations that representation invokes (a regime immediately subverted by dancers who do not move according to a system of command, and by things that refuse to be merely producers of effects or proxies for human bodies), the disbanding of representation proposed by the thing may be, at last, if only briefly, glimpsed, experienced, or enacted. When (….) Cordero gently fuses with a pile of destroyed commodities (…) the bind between objecthood and subjectivity is shaken for a moment. In this tremor, a gap or opening in the field of possibility is revealed and activated. This activation is nothing else than the political effect that a choreographic critique of the object has the capacity to create: the formation of an “impersonal movement that at the same time displaces the other from himself and allows him in his turn to give himself as thing and to take me as thing.”32

32. Perniola, The Sex Appeal of the Inorganic, p. 109.
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