By diverting the gaze to the details and variations of a repetitive choreography, Polaroid devises an elusive image of body and spatial arrangement. The performers sometimes move synchronously, sometimes with small individual variations, small groups sometimes moving contrary to one another, then coming together again. Again and again there are breakaways from the group - qualities and actions are varied. The elements of the reduced movements are slowed down, looped, opposed or associated with one another, enlarged, compacted or immersed in another light. The movement material seems relaxed and everyday, purposefully refusing a narrative reading. The audience is far more addressed in their own physicality, directed to the act of watching as a psychological state.
How much do we notice differences? When is the impression of uniformity produced? Polaroid works with the material of duration in order to claim the audience's attention as well as the work, to take on individual perspectives and decide for oneself whether the variations or the continuity of a process occupies centre stage. In its repetitive and laid-back structure the piece becomes a sort of lounge for our perceptions which can get lost in associative impressions as they are continually sharpened by the accumulation of nuances and modifications.
The space too, with its doors and windows which the dancers occasionally leave through, blurring the separation between inside and out, strengthen a gradually progressive dissolution of seemingly clear frames and sets which increasingly overlap, producing this blurring. The moment is foregrounded, and as in a Polaroid, the public can watch the image as it is being created.


Eva Meyer-Keller

Adelaide Bentzon, Martin Butler, Erik Pold, Antje Reinhold




DOCK11, Berlin (DE)

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