“Every dance is a kind of fever chart, a graph of the heart.”
– Martha Graham
The choreographed mourning of Martha Graham on the 25th anniversary of her death was the first open-air performance I did in urban space (the first open-air being Transhumance). There were warned and naïve witnesses. One of them recorded the first seconds of the action for a deceased body.
Different linguistic approaches identify a material and a speculative reality in the linguistic sign. Upon Saussure’s distinction between signifier and signified, Lacan found that the subject can only signify for an other signifier: no one signifies oneself.
We may feel forever grateful to the other even if we think we have reasons to hate her. This is the symbolic debt that only death can cancel because death is the gift of dispossession.
Another linguist, Hjelmslev, made the distinction between expression and content, which seems to be a better fit when it comes to the body. Taken as a sign, we can say presence is the body’s expression while incontinence is its content. To be in the presence of the other, to find her in front of oneself –this is the continual accident of an originally misled separation.
The fight between containing or not containing oneself outlines each singular voice set aside pathologizing, positivist, ideological, or cultural speeches. Resisting the fight or fighting for the love of failure seem rather good options to rescue the utopian, negative, body of art.
This was the motive for MRTHGRHM.