Co-production "All Things; archeology of a space object"

Norberto Llopis Segarra's works completely reshuffle the way we look at ‘things’; there is not such a thing as a body that doesn’t relate to each and everything that surrounds it. His previous work STUFF (2012), – as Marnix Rummens described it; “(…) jeopardize[d] the traditional distinction between objectivity and subjectivity, between the inner and outer worlds: the way we look at the things and the impression they make on us, are inextricably linked. It plays with our expectations and desire to understand the world. His performances are processes of detaching things from their usual understanding, and propose possibilities that we never thought of before. In essence, Segarra’s performances are scripts or methods aimed to keep your mind open.”

In choreographing Norberto is organizing the elements in various ‘materials’ that relate to the times that are brought on stage. He is scoring the choreographic elements of the piece, by drawing and writing graphics, ‘realities’, drawings or statements, and cutting images, papers, or whole magazines. Through the score time is made into things again.

Time is an object

We take things for granted. Things: bodies and objects, deodorants for babies, desire, space, time and their interrelations. Economy and science and their machines of prediction, verification or confirmation, produce ‘objective innocence’. Objects, utilities and commodities with inherent inconveniences hold an invisible power. Besides from being physical things, they have their own time and produce their own politics. The space is an object, and objects are movements and times.

Time is not innocent

Things appropriate time and space into the territories they are made for. Kant said that the time is the conscience form of succession that can’t be conceived as simultaneous. “Let’s stop the space, let’s put it in a line so that we can feel the simultaneity of time, the expansion of time. Let’s put time in a simultaneous extension so that we can see the succession of spaces.”

The time of “all things” has a certain illegality, a certain illicit conjunction of simultaneous things-times. We cut time as things invite us to do, we kill time, we procrastinate, we jump from time to time, we “crisis” time, we value and devalue time, we make disappear time, we territorialize time and space in all different ways we feel invited to.

Dancing all those things, moving in those times, in its fragmentation, it’s segmentation, stabilities, involutions and it’s determinations.

This piece is not about “politics”, this piece is rather “politics”.

This piece is not about the “body”, this piece is rather “body”.

This piece is not about “objects”, this piece is rather “objects”

This piece is not about the “wealth of nations”, this piece is rather “wealth of nations”.

This piece is not about “culture cuts”, this piece is rather “culture cuts”.

This piece is not about “desire”, this piece is rather “desire”,

This piece is not about success, this piece is rather success.

This piece is not about a “deodorant for babies”, this piece is rather “deodorant for babies”.

This piece is not about “protest”, this piece it is rather “protest”.

This piece is not about “economy”, this piece is rather “economy”.

This piece is not about “bullshit”, this piece is rather “bullshit”.

This piece is not about nothing, this piece is rather nothing.

This piece is not about crisis, this piece is rather crisis.

In sum, all things is not each and every thing, all things is rather all things.

09, 10, 11 May 2014 - Try-Outs in Het Veem Theater Amsterdam

24 - 28 September 2014 - performances in Het Veem Theater (premiere on 25 September)

Credits:

All Things is a Het Veem Theater production in coproduction with workspacebrussels and Kunstencentrum BUDA Kortrijk. All Things; archeology of a space object is part of the Life Long Burning (LLB) project, supported by the Culture Programme of the European Union.