Being, changing, living

Yesterday I spent two and a half hour on my own in the space. I now try to create language for the experience and link it up to the on-going process of using Arakawa and Gins vocabulary. The space we live in, Kehai Coordinating Unit were my landing site, and inside new landing sites developed. (Landing site: where my attention is drawn)

Arakawa and Gins speak about three different layers in understanding the landing sites: immediately perceived sites, imaginary sites and dimentional sites. Can I use this vocabulary to analyze my experience yesterday in retrospective? Is it possible to say that the immediate site is linked to the question what did you do, that the imaginary site is linked to how did you think/ project/ perceive what you did and can the ‘why did you do that’ be linked to ‘dimensionalising site’?

What did I do? I worked intuitively in the space for two and a half hours, not putting restrictions to where, how long and what to do/ produce. I wanted to investigate being; investigating the immediate interests in the space and at the same time knowing that to find and make new tools for choreography is the headliner for our stay here. In memory of Helen Keller I wanted to work spontaneously.

What became my landing sites? I started in the open room with the bamboo mat, stretching, moving, seeing, I had an idea that I wanted to move. I climbed up and sat and laid in the hammock under the ceiling, finding new places for it and I found some grapes that where hanging from one of the eyes. I spent time inside the yellow cocoon, receiving support at different parts of my body, finding the hooks at the end of rods and making new connections, I moved this outside in the big space. I read and organised the 32 instruction cards from Arakawa and Gins for inhabiting the lofts and then I understood that I had too little time.

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Why? Tuesday evening we say the documentary  “Children who won´t die”, a documentary of the work of Arakawa and Gins made by a filmmaker who lived in the Redestiny Lofts in four years with his family.

To live and work in these spaces has been very inspiring in many different ways. The space doesn´t need me to exist. I am not sure if I am the one choosing landing sites or if it is the way the space is constructed that gives my attention direction.

In august I saw the performance “You” of Lisa Østberg and Kim Hiortøy at Black Box Theatre in Oslo. To be here reminds me of the performance and I can try to sum it up in the senctence: To play is existential.

When I am in the spaces I often try to excuse my being and amusement with: now I´m not using or producing anything. To not produce more than being can be ambivalent to me. But as long as I am not using anything either, it feels more okay.

The space serves me possibilities for changing them and creating new possibilities of existing. This is not easy to write but I feel alive and at the same time “landed” here.

How? There is a tendency of thinking that easy makes you happy, to not make an effort makes you happy. To be here brings me into being- an active state of recognising that I am alive. The house serves a sense that thinking, building, changing, perceiving through my body is important. I can transform. I can be four years old. I can climb. I can receive support different parts under my feet, back, neck, hands at the same time. The spaces receives me differently than the flat floor, right angle walls and chairs I amused to. To move makes you alive- I think. This place forces the body and the mind into moving. Things aren´t as they seem to be or as you used to.

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This place forces intelligence, whole hearted, body and mind. I need less sleep here. I feel vital. I am 30 min outside the city center of Tokyo (!), we spend a lot of time her but I still want to stay. There is so much to attend to. The small doors – imagining that I am Alice in Wonderland. The hooks and ropes that I can move around in the “eyes” of the ceiling. I can be the mountain climber, the monk, the monkey, the philosopher, researcher, architect, stage designer, composer, blind and deaf, the human.

What is a tool?

Now I want to divorce with formats for performance and performativity. The expanding choreography; about how we live and interact is feeling much more important and relevant that to make an other show. I want to build instruments that you can´t play without moving through-, and infecting the space around you and I want to change, and be changed in places like this.