00:01:44 00:01:48

Looking out.

00:02:13 00:02:34

A few years ago, I used to differentiate between looking slantingly forward and then the neck…

00:02:36 00:02:55

Placing myself in the upright figure, being…

00:02:59 00:03:19

Something about leaning towards and clicking into the image.

00:03:33 00:03:42

So I guess it’s about the whole surface of the body. It’s not, it’s…

00:03:47 00:04:09

Projection meets projection, I would say.I look at you, I don’t see you, I don’t know who you are. But I’m kind of aware of, or I am aware of the gaze upon me that being in the…

00:04:13 00:05:25

I mean, that gaze onto me.

00:06:40 00:07:05

Somehow, in the getting up off the floor, the body reveals itself.

00:07:21 00:07:40

But then however, the erect figure somehow started to overtake. It’s somehow, well it is about…

00:07:42 00:08:10

The uprightness of the world. The perpendicularity of architectural space surrounding us.

00:08:12 00:08:19

That hierarchy I somehow have to compete with.

00:08:19 00:08:50

And in good enough (2001) I decided to stand sort of leaning, a leaning man for ten minutes.

00:09:00 00:09:17

I’m engaging in the desire of placing myself kind of totally other, assuming a supersubjectivity.

00:09:21 00:09:35

Imagining that my body would, well, a line I’m making would extend.

00:12:10 00:12:35

And then that panning, steering action of the chest, this kind of slightly protruding airfilled chest I walk around with, turned into a panning across the room.

00:12:37 00:13:00

And finally, somehow, the times of the desire for leaning forwards and spatial transcendence and lines through the space was arrested by the turning.

00:13:04 00:13:19

Somehow, in spatial transcendence you take your kinesphere with you, changing place. Nearly, maybe.

00:13:19 00:13:32

And with turning, I felt that…

00:13:33 00:13:56

I felt my kinesphere maybe disappeared, or the world became my kinesphere. And I could be in touch with all points in space without having to run around.

00:13:59 00:14:19

But also in opposition to that, it might be just the case of my kinespheric life being sort of scooped inside of me.
Outside in.

00:14:19 00:14:42

As that twisting spine is always the motor for leaning towards.

00:19:54 00:20:15

Being on all fours, I had this…

00:20:27 00:21:02

It’s easy to feel your weight on all fours. This was the moment where my way of… some form of sensory, preempting, preconceiving, sensorial, conceptual way of composition came about.

00:21:10 00:21:18

And the gesture, or my gesture, I would say that…

00:21:18 00:21:35

I guess it stands in both relation to that upright figure that appeared and the small hand without its daily function, that arm that rises above shoulder level.

00:21:43 00:21:55

I translate it as a form of utterance. The utterance that is my gestural axe.

00:21:57 00:22:18

From that trunk that is filled with organs that get always twisted in all that torsion, the limbs go away from and sign beyond.

00:22:20 00:22:43

They are aware of their limits, the life within their kinespheric boundary, but they always mean what goes on beyond that boundary.

00:22:47 00:22:55

In incubator (2004) we differentiated between the talking, uttering gestures and…

00:23:04 00:23:23

and the mute sign or the very loud sign.

00:23:53 00:23:59

The shoulder is somehow always a great intermediary friend.

00:24:02 00:24:20

You can throw your organs into your limbs just by that mediator.

00:25:07 00:25:34

And then at some point, these hands that are always just on top of those arms found their function again and started to reach as far as they could. And the extended arm is in fact my favourite movement. I guess this is my contribution.

00:25:40 00:26:10

I just walk next to David [Subal], I raise my arm, I touch his shoulder and that intersubjective problem gets close. And then I just grab his upper arms, turn around and I just push him into the wall, that doesn’t exist here. So behind him.

00:26:25 00:27:06

And it is my favourite moment to think about in all those years, because somehow this touching the boundary is like signing what you do what you touch that boundary, because, I guess this is where I end and where the world begins.

00:26:48 00:27:06

And in incubator it was not impossible to go from this ‘ironeously’ put arm there to funtionality to grabbing his arm to going from movement to action, overpower him, objectify him and throw him into the wall.

00:27:06 00:27:42

It’s still my desire to find a dance language that somehow can do something about the two of us, without either saying, it’s abstract or kicking into representation straight away, which is difficult to avoid.

00:34:32 00:35:17

In like there’s no tomorrow (2007) we differentiated between, well, it was an attempt to integrate the system and the simple
Me => the World => You
was used.

00:35:17 00:35:43

And, I guess, ideas can come, you can learn to have ideas, you can find them, you can learn to catch them, and to… but what interests me is, as much as how you, how to hold yourself.

00:35:43 00:36:09

How to hold yourself.

00:36:13 00:36:16

Thank you.