Hypnomotor 2020

This ‘situation’ has been dragging on for months, lockdowns, confinement, social distancing. If it’s a crisis, then it’s moving at the speed of a slow implosion. Is it as T.S.Eliot predicted: “this is the way the world ends, not with a bang but a whimper” (The Hollow Men). Will things ever go ‘back to …’?

What is normal?

I adore the solo Watermotor (1978) danced by Trisha Brown, and filmed by Babette Mangolte. In the first part of this work, Brown’s swinging choreography is fast, playful and free. In the second part of the film, Mangolte captures the same piece but this time in slow motion.

During lockdown I watched this piece over and over, imbibing it, I missed space and freedom. It also made me wonder about speed, dynamics and the ‘rhythm of freedom’. The phrase buzzing around was about ‘going back to normal‘. What normal?…was there ever a tacit agreement about what exactly constitutes ‘normal’?

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Collapse: Brexit 2019 | 29 March, London

We are no nearer to knowing what will happen on 29th March 2019. The action but I’m planning to mark this day, Collapse: Brexit 2019 does not rely on knowing what will happen : perhaps the whole ‘divorce from the EU’ will be delayed as it seems that the UK politicians themselves do not know what to do. Collapse indeed relies on not knowing, and sensing how this not knowing can become a generative process for the imagination, this is why I call this a Poetics of Activism: it’s not about knowing where you stand or your allegiances, but knowing that you don’t know everything that is part of a complex world, and this need not make us hopeless or prevent engagement and participation.

I’m still looking for participants I would like to join me in collapsing on 29 March. This Collapse will take place no matter what happens.

Facebook event link >>

Collapse Brexit pdf Flyer >>





Black March Berlin – 9 November 2014

Black March Berlin 2014

Kazimir Malevich at Tate, preparing a walk and thinking about darkness and horizons

“The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light but rather its darkness.” Giorgio Agamben, ‘What is the Contemporary’

The Malevich retrospective just ended at Tate Modern. I managed to get it just in time, just off the plane from Tokyo, passing through London on my way to the next Black Walk and the first one of 2014, Black March Berlin.

I was thrown back to where it began. A circularity of sorts that took me to Japan, where I indirectly felt the influence of Malevich’s ‘Black Square’ on Tomoyoshi Murayama’s MAVO movement in 1920s Japan. Murayama had been inspired by his experience of the avant-garde movement whilst in Berlin for a one-year stay and brought the movement home to Japan as MAVO. The MAVO movement’s own performance art and dance happenings preceded Butoh in the Japanese modern dance scene and probably create a further line of spiraling circularity in terms of influences: Malevich, Murayama, Hijikata… read article >>



The love life of the wanderer

I am not sure whether it is migration, nomadism or a hunger for an ‘other’ experience…it continues. I have nothing apart from this to report, nothing to inform about, no performances on the horizon, no new photos to show. Just a few lines to say that I am in motion and that is my practice at the moment.

An artist, a fellow wanderer, who I have been talking to a great deal recently and whose words, (as I interviewed him) will soon be appearing here, has been feeding my thoughts (and inhabiting my dreams) with the texts he writes, the ideas he explores and the life he lives. I’m also currently helping to keep the poetry in the translations of some of his texts.

One topic he returns to again and again is ‘LOVE’. Not the emotions, the romance but within the moment of ‘falling in love’, is the possibility of entering another dimension of time. Aeon time as opposed to Chronos time. I call it ‘the moment’: through it a ‘bubble of time’ emerges, time that is not the time of our day to day activities, the time of daily life, but the time of infinity.

Another word that came up in our conversations was ‘alone-ness’, though I think he meant ‘solitude’, the word ‘alone-ness’ has a different vibration: it conjures ‘loneliness’ too. The wanderer is alone, and fully acknowledges this state which is the weight of what is transported from place to place.

Through ‘alone-ness’ the link of LOVE to TIME becomes evident: we are born alone and die alone, ‘alone-ness’ is the natural state. The time of daily life is one that is developed through the ‘social’ aspect of our interactions: we need to relate to each other in a common measure of time, and also limit these relations through this measure.

Love, however, is an invitation to step outside of this measure of time: to change, to transform, to perceive in an unexpected way. Without love, a relationship is only about measuring time, passing time, to try to distract oneself from this ultimate ‘alone-ness’, this ‘vital solitude’, so it is simply populating the schedule of our days.

Love outside of all the films and flowers and expectations is really just about how we relate to others within concepts of time: the measured one or the infinite. Without love, there is only counting of minutes and hours and days. To dance, you have to wander or even fall into the time of love.







‘The Shape of the Twilight’/黄昏の形 in the Isamu Noguchi Room 14 December

I will perform a site-specific piece at the Noguchi Room, Keio University Mita Campus as part of ‘The Week of Foreign Female Dancers’. This event looks at the work of female dancers who have trained in Butoh and integrated it into their dance and performance work. Other dancers whose work is featured in this mini festival include SU-EN (Sweden), Camille Mutel (France), Jocelyne Montpetit (Canada) and Natsu Nakajima (Japan).

‘The Shape of the Twilight’/黄昏の形

Screen Shot 2013-12-11 at 12.10.21 PM

Buckminster Fuller compared Isamu Noguchi to an aeroplane, saying “both supported a new era that integrated separate civilzations’ experiences into a shared human history and geography.”

As the sun sets in Japan, the day begins in the UK. Today I am in Tokyo but in 7 days I will be in London. My body is here but a part of me has already begun the journey back, disappearing with the sun, becoming a twilight presence, oscillating between these spaces: these two places a revolution or so away, connected by the sun. My existence stretched across the globe.

“I work everywhere. I feel myself equally settled wherever I am: people all over welcome me as their country fellow and that is both pleasant and sad for me: since I have not got a home.” Isamu Noguchi

For this performance I will collaborate with musician, Yosuke Fujita:

Fujita Yosuke
Fujita Yosuke


Black Box performance and installation next week in Tokyo

Black Box is an performance and installation originally developed last year and presented at the Kazuo Ohno Studio. This year it will be redeveloped as a site-specific installation and performance in an Edo-period storehouse, dating from 1868 and which has survived 2 major earthquakes and the WW2 bombings of Asakusa. Performances are on 19 October at 19h00 and 20 October at 18h00. The installation will be open from 12-19h from 16-18th October.

Tickets are almost sold-out for the Saturday 19 October. Please book tickets through Gallery éf