“I found Collapse, utterly, utterly compelling.” Astrida Neimanis

Material: bodies, pavement, air, wood, wind, nonhuman agents

The first Collapse happened in the financial district of Shimbashi in Tokyo in 2015: the artist, dressed as a ‘salaryman’, wanted to juxtapose a rhythm of unpredictable entropy onto the vertical architectures that spur the busy-ness of finance. Since then Dominique has continued to collapse in both public and private spaces, alone and with others.

Collapse is at first a duet, achieved through a precise attunement to the environment, the weather, and the passage of time. As a duet it demands alternating moments of resistance and surrender, suggestion and interpretation. The partner in this dance is an entity so extended across space and time that it can only be grasped by the subtle traces it leaves. Like a massive ‘hyperobject’ (Morton, 2017) it is the beyond-human, the more-than-human and the inhuman that dances with us at every moment and reveals itself through frequencies picked up by the body’s hidden antennae, played out in its rhythms of aliveness: breath, heartbeat, sweat. Dancing with these entities awakens a more-than-human landscape, where the flesh becomes the sensuous material of an intimate participation, an engagement: a poetics of activism.   

Collapse was part of a collaboration with Astrida Neimanis for the Kelp Congress, Lofoten Arts Festival 2019 (produced by Siouxzi Connor); Collapse, Sunset commissioned by Chisenhale Dance Space for Encounter Bow (curator: Alisa Oleva); Collapse 2-channel moving image work, Let the Music Make Them Dance ; Collapse, Brexit a participatory ritual outside Kings Cross sation, London; Collapse Artvivors, commissioned by Spreeknie Festival 2016; Collapse Delphi 2016 | Made of Walking Art Residency (curated by Geert Vermeire); Collapse Manchester, commissioned by Håb and Wordofwarning for Hazard 2016; Collapse, Funkhaus 2016; Collapse, Teufelsberg 2015; Collapse, Shimbashi 2015.

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