Process

Imposition  © Michael Snow Date made: 1976 Materials: colour photograph, wood frame Measurements: 195 x 117 cm Collection: Marielle L. Mailhot, Montreal; Ludwig Museum, Cologne; Ydessa Hendeles, Toronto

Imposition, 1976, and Crouch, Leap, Land, 1970, coax viewers to assume positions similar to those performed by the models in the photographs. The tilt of the head required to study Imposition (a photograph hung on its side) leaves us mimicking the poses of two models who in turn contemplate a photograph, while in Crouch, we must kneel to observe the images of a crouching, leaping, and landing woman affixed to the bottom of three hanging stations. Our recourse to Snow’s photography is never direct but rather directed: We double take, calculate, rotate, and circulate to Snow’s specifications.

Martha Graham technique.

In Dance for Nothing, Eszer Salamon performs John Cage’s music, "Lecture on Nothing” (1949) and simultaneously dances with the aim of creating choreography of non-intented movements to be juxtaposed to the text piece. The idea of using music done by words and performing a parallel action as another temporality follows the desire for interaction with non-interference. “The dance in ‘Dance for Nothing’ should be autonomous and never become an illustration or a commentary on the text.” Eszter Salamon  http://www.eszter-salamon.com/WWW/dancefornothing.htm

 ...We don’t want to be told how to have fun, but we don’t want to be left in charge of making our own fun either...

“DUST” written, directed, edited by Thanasis Tsimpinis is tale told to the music of “The Seer” by SWANS.