00:05:30 00:05:48

Hello, I’m Sioned Huws. Let’s see. Just to give a context, and how I come to be standing here, now…

00:05:48 00:06:03

It’s through the kind invitation of Philipp Gehmacher. He invited me to be one of the ten artists to participate in the walk+talk.

00:06:03 00:06:23

But today I have to admit to you my failure in that I actually haven’t managed to achieve Philipp’s proposition. And I’m going to attempt to explain to you why.

00:06:23 00:06:35

So you can relax: this is not a performance. And feel free to say whatever you want as well.

00:06:38 00:06:52

At four o’clock today, I’ve decided that what I was doing, didn’t really say anything about how I work or what I do.

00:06:52 00:07:12

I thought like, I was just stringing movements together making a performance. And as I understand it, it wasn’t really a proposition from Philipp to create a performance.

00:07:12 00:07:35

But already to me this is proposing something, an interest that I have, the question of whether am I performing or not? But this is the performance sense that I would like to be able to achieve. The same sense…

00:07:37 00:08:03

When I was introduced to the Halle G on Thursday; it already gives me such a huge proposition. So it already says a lot about how I work, or how I begin to make work when I see a space like this.

00:08:03 00:08:18

For me it has two spaces within one. And for me they’re contradicting spaces. In a good sense.

00:08:18 00:08:28

Instantly, I’m attracted to the periphery of the room; it’s what… where my interest is.

00:08:28 00:08:44

Then you have the defined square, which for me is almost a performance. Here.

00:08:52 00:09:10

For me, what’s interesting about the 10 walk+talks is maybe not the individual, but what the 10 walk+talks would reveal about each other, what they say about each other’s work.

00:09:10 00:09:31

Meg Stuart was performing on Friday and she sat here. And she sat and she looked at this space. And she said: When I look at a space, it is never emtpy for me. It is all fragments of stories, memories, desires.

00:09:31 00:09:38

And that was such a revelation for me. I never thought that somebody looked at a space like that.

00:09:38 00:09:58

When I look at a space, I always see what is here. And in the same sense, I could put myself here, always (…) confronted with the space. This is always my starting point.

00:10:01 00:10:11

I don’t create - that’s what I do - I don’t create movement language. I make works. And each work is different.

00:10:11 00:10:25

I always come back to this point, as if I’ve been here before. That interests me also: what my material is.

00:10:29 00:10:39

So this is what this space proposes for me. I’m interested in the periphery and what’s (…).

00:11:07 00:11:10

This is my way of…

00:11:57 00:12:00

It’s only a physical distance that separates us.

00:12:26 00:12:35

I would like to think about what the actual difficulties were in working on the walk+talk, for me.

00:13:29 00:13:45

Some of your references might come also, because as soon as you start to see a periphery and a square, it becomes a (…) in your mind. Bruce Nauman has this Dance or Exercise on the Perimeter of a Square.

00:13:47 00:14:08

I was thinking about how we do reference one another here. There is a dance history (…). There are repeats going on.

00:15:38 00:15:55

(…) Why do we… Why is it one will have this things for anybody to do?

00:15:55 00:16:10

Walking through an open space. You take an open space that is totally unfamiliar to a person.

00:16:12 00:16:18

The first thing you do is walk around the periphery.

00:16:24 00:16:37

You become self-conscious of every move, every step that you take. Absorbing everything.

00:16:37 00:16:56

This self-consciousness interests me because it (…) me every day. And the every day is not about walking, it’s the time you do it in.

00:17:52 00:17:56

And my body is in the (…) direction.

00:18:22 00:18:31

When we enter into a space it is already changed.

00:18:44 00:18:47

It’s a condition of history.

00:18:56 00:19:00

But it is then a possibility to do nothing.

00:21:09 00:21:30

I was always (…) when I was training to dance, to extend from (…), but slowly I understand why this is my limit. My limit is…

00:24:45 00:24:54

I would like to give you a proposition. Would you exchange spaces with me?