What kind of artistic potentials could this practice have? Choreography as a reading practice examines and focuses on decoding the movements that are moving my human body. In order to contextualize ourselves into the Venetian sphere, I think we would have needed more like two to three weeks to work on those embodiments on-, with- and through-site. The captain Lied 3. How is it possible to perform, and make a performance or choreographic work with this practice? Our performance in Venice was the second time we had audience, so in this way it was also an experiment, and it brought me lots of new questions to be clarified, such as:
How to embody hyper-reading of the movements that set conditions for the choreographic hypertext to emerge? In Venice we performed 75 minutes and after a short break, we had a discussion in which the external examinors of my research project were present. Is reading witnessing, observing or answering, or something else? CHARP has been supported and developed with: Theatre Space Working group: What kind of artistic potentials could this practice have? What are the differences of the exposed reading practice to other somatic or choreographic practices? Our performance in Venice was the second time we had audience, so in this way it was also an experiment, and it brought me lots of new questions to be clarified, such as: How choreographic thinking and broadly understood movement operate together when choreography no longer indicates to the act of composing of a linear coherent unity, but is understood as processing of simultaneous incoherent multiplicity? What is the difference between perception and reading? I was happy that my suggestion was invited to the Camino Events. In order to contextualize ourselves into the Venetian sphere, I think we would have needed more like two to three weeks to work on those embodiments on-, with- and through-site. How to take place in and with the planetary, interplanetary and galactic movements, which extend beyond telescopic vision? In spring I invited three artist-researcher colleagues to work with me in order to discuss and multiply the viewpoints of this astropractice. What happens to the movement when it is mediated to choreography? The Research Pavilion is hosted and created by Uniarts Helsinki in collaboration with European partners. How is it possible to perform, and make a performance or choreographic work with this practice? In Venice the group experimented with the context and atmosphere of the Venice Biennale by taking time in Giardini, Arsenale, and in Prada Foundation. So far in my research project I have made and exposed artworks mainly by myself except one shorter try-out as part of the process of the first artistic part , so working in a group towards staged performance, and examined artistic part, was a new situation in the research process. We discussed how we experienced the artworks and their contextualization, and from which position as a viewer we experienced them, and how did Venice itself affect and choreograph us. Is it possible to share it on stage as a group, or is it an intimate personal artistic practice? In the autumn , I proposed to the curatorial team of the Research Pavilion that the project-in-progress would be performed in the Research Pavilion in Choreography as a reading practice indicates to that history of choreography in which choreographic practice is understood as a writing practice. Is choreography as a reading practice productive or generative? What is the relation between sense and meaning in this specific choreographic orientation?
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