Always More Than On(c)e

(2016)

Performance / 20min / Collaboration between Madison Bycroft (Australia), Angelika Falkeling (Sweden), Katherine MacBride (Scotland) and Clara Json Borg (Sweden)

Performed at "CFP The Politics of Performance and Play, Feminist Matters", Institute for Philosophy, Leiden University,

The Netherlands and at TENT, Rotterdam, The Netherlands.

Always more then on(c)e is it the first time the artists bring their individual practices together to present them collectively.

They share an affirmative ethics rooted in what Rosi Braidotti terms a matter-realist feminism that considers art making to be propositional; to be a site/mode/practice for considering and co-constituting possible relations for worlds in becoming.

In the lead up to the performance, the four artists immersed themselves in studio-based deep hanging out. The sessions facilitated a political playfulness, in which intimacy towards one another and vulnerability was essential. Through this workshopping, the artists address and perform their central questions: what constitutes a “we”, and through what processes can such constitutions take place?

From this engagement, they have developed a work that holds individual practices momentarily, before letting them dissolve into a series of dramaturgical intermissions and transitions, playing in the gaps between practices/subjectivities and forming a malleable “we”.

Always More Than On(c)e presents as an opportunity for play, risk, wildness and encounters with the differences and commonalities found in each others’ practices and in the audience. What does it mean to carry? To hold and fall? To encapsulate and transport another? To expel or explode an interior? How can different subjectivities flow in, around and through each others’ bodies? How can one voice carry that of another? How can one facilitate breath and enable an inhale? How to enable a gap in between while losing control and then use this space as an invitation for an embrace? How does one enact a hospitality?

Through doing, using their bodies and their voices, the performance works through how the singular might resonate within the plural and how the plural might be constantly reconfigured by changing singulars in an intra-active congealing of agency.