on pink-tinted future

The body dissolves performance with patience.

Active and passive, always in an attempt to adapt.

Pushing itself, pushing the space, pushing the choreography without physical contact.

Rushing towards the next.

And then, at some junction, an effect breaks through—memory, scream, and joy—creating conditions for further, for the future, even though the horizon continuously slips away.

Adaptation is the body’s strategy in relation to the process of change, to the moment of deviation from the established matrix within which we exist, to confronting impermanence. Changes have always been there, but their organic interweaving with the rhythm of time and space renders them invisible. At the moment when constructed and controlled existence within the rhythmic framework of everyday life is disrupted by social, spatial, or temporal excesses, when fear and uncertainty disrupt the established rhythm, the body’s strategies initiate a process of continuous adaptation, adapting and bringing into cooperation its own rhythms with those it recognizes as spaces of collaboration, conflict, dialogue, negotiation.

On Pink-tinted Future considers the task of adaptation through the adaptability of the body in space and a broader framework of temporality. The performer’s body negotiates with the givenness of space as a field of shared existence. Elements in space and space itself co-choreograph the performance, establishing a field of objectivity in which the positions and relationships of the body, choreography, music, light, and performer are in contemplative equality. The body in the task moves within the elements of that constructed objective field, trying, without direct contact, to create conditions for the performance and its duration and anticipate the space of the future in which the horizon is constantly changing and the body adapts.