“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 space and time. A duet, because dancing with a partner demands alternating moments of resistance and surrender, suggestion and interpretation. The partner in this dance is a ‘hyperobject’ (Morton, 2017): it reveals itself as a frequency – the drone of gravity, the ethereal tones of time, the unpredictable pitch of weather. The body, by listening for these entities, enters a more-than-human register, the flesh becomes the medium that allows these frequencies to be heard.
Collapse, 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.