[20YTU] a moving image installation / performance by Leif Firnhaber
As introduction a few images of the process and performance/ installation.
"It’s already getting dark and Homo Technologicus is wandering through images of Brussels on the morning of the terrorist attacks in the airport and Metro. Images of Molenbeek, his neighbourhood. Images of people and of our time. Homo Technologicus has a restricted vocabulary of words (mainly “OK Google”), yet his mobile cyborg outfit can project & record images, video, sound, lights and physical movement. He is the character, the performer, the technician, citizen, a young adult and reflexion of his audience. He is alone and what he lives on stage doesn’t make sense in a linear way: What relation could there be between technology, terrorism, arab music, self-reflection, and dance? Homo Technologicus is not there to make sense out of it all, nor to be liked or disliked. An ethological* view on the animal in it’s own cage. The question, of what it implies to us, to be there looking at this mess."
“I am into my thrithy’s. For the past years I have been connecting with myself in more spirit-you-all directions. 16 years since I encounter dance in many different ways. The last 6 of those I have been working with and for companies that have consolidated my professional experience in the contemporary dance industry. I realise that those experiences have brought me where I am, but that they are only tapping me into the direction, of asking myself the question, who I am. The world has become too much a complicated place and time for creating only career- and status oriented formulations. An “off the grid” research phase started by an attempt to reconnect my performing desire with my photographic work and a need to connect myself more with the world I’m living in right now. Nourished by a big variety of books, articles, podcasts, youtube videos, conversations, lectures and hours of wandering around thinking. Adventuring into trying to make sense of the world just brings us to our own nonsense and unconscious, so I started to buy a lot of gadgets online, to visit decathlon and Media Markt, just a bit too often. My idea was to produce my work by my own budget, but to profit from a greater flexibility and mobility to make it move around. I wanted to be autonomous and compose instantaneously with my own costume, light design, sound and video and images. A methodology to create a performative output that can vary depending on it’s environment. As opposed to the idea of making the research be an excuse to sell a product, it is about how to make the product be the excuse to research and reflect on local circumstances and people, to generate discussions and controversy. I wanted to rather embody it’s controversy in a personal way, leaving me no choice but to stand naked in front my own madness.”
The inspiration to move and do something derives from some of these questions, at least as far as I am aware of. And I am aware of very little to be honest, so my position is not on making a point, but one with a Question Mark above. Part of the aim of the performance is to register through my senses and devices the debate that happens before entering the performance space, and after people leave it. The comments, conversations and debate around what people think I am talking or not talking about (and mostly how this is difficult to make sense of), will turn into source of inspiration and give continuity to this proposition. I look forward to a chameleonic performance, that changes it’s skin, maybe even it’s nature, as far as I do in relation to its contents.
My role as performer is to make a seemingly free association of technical elements (costume, gear, lights, sound, movement) convincingly enough to be able to make some sense or experience worth having (to me and the viewer), even if- and specially because it’s not based on any formal language or style, nor on a single idea or theme.