In Unthinkable Objects Anna Pehrsson explores instability and otherness. The piece examines movement across the threshold of identity, gender, body, observer and doer. By negotiating tipping points in the dancing body, she produces an intense experience for the viewer where motion and emotion collide and depart into something unknown. In a room that is constantly shifting, where breath appears to follow the pulsation of light, we are in a state of dissolution of bodies, affects and senses. 

 

The title of the piece is taken from philosopher Brian Massumi’s Parables of the Virtual: “...approaching ideas as materialized thoughts and making them into unthinkable objects, artefacts that can only be sensed, pure sensation.” 

 

Unthinkable Objects departs from a series of studies, or a composting of choreographic works. In chronological order, Pehrsson worked with Deborah Hay’s I think not, Rachel Tess’ Souvenir, Cristina Caprioli’s Very Very, and Paz Rojo's Lo que sea moviendóse asì. Through composting, Pehrsson allows the choreographic proposals to transform into a map of confrontation and formulation, a practical bodily analysis that creates a network of linking strategies. Moving back and forth between transformation and retrospective, compositing and composition, non-linear thinking and logical stopping, she constructs an environment that produces a loss of equilibrium, and, if not freedom, a freed thingliness.

 

CREDITS:

 

Lightdesign: Thomas Zamolo

Mentor: Siegmar Zacharias