Dana Michel’s installation merges improvisation with social commentary, creating a dynamic exchange that highlights the complexities of existence. Simple interaction with found objects and materials, pots, pans, scissors, ice, and soil transform the mundane into moments of discovery. One of the most intriguing elements of the piece was an unintentional participant: a man standing outside the venue, his shadow becoming another object for Michel to engage with. Michel’s childlike curiosity infused the performance with a sense of newness and the unlearning of social norms, making it a truly mesmerising experience.
Jassem el Hindi brings a soundscape rich in cultural references to How Does It Feel?. He tells a gorgeous story of a beloved Arab poet, whose work is very dear to him. Hindi transports the audience across time and space, fostering feelings of nostalgia and connection to shared histories. By the end of the piece, I found myself wanting to delve deeper into the story he told, uncovering truths, and learning more about the inspiring poet who did so much for female liberation.
Pre-Submission, a collaboration between an*dre neely and Melanie Sien Min Lyn, offers a provocative exploration of power dynamics. The piece elicits a range of feelings, from tension to empowerment, inviting the audience to reflect on authority, control, detection, and prevention. This was the most thought-provoking piece for me as it was the most overtly political. It cleverly combines satire with installation and live performance to communicate how soft power segregates, dominates and erases. It left me both educated and terrified about being dominated by AI. I genuinely cannot believe that the information was all completely true, which is a testament to just how provocative and well-crafted pre-submission was.
Martin O’Brien addresses the intersection of illness and performance, offering a poignant commentary on resilience and the human condition. His piece is deeply affecting, challenging viewers to confront their perceptions of health, fragility, and endurance. O’Brien pushes himself and his body to its extremes. With a contraption in his mouth, limiting his ability to breathe and communicate, O’Brien plays the song Can’t Help Falling in Love on his tape recorder on a continuous loop. However, the most powerful motif for me was O’Brien balanced on top of two glasses, each precarious movement highlighting the fragility of the moment. It was a powerful metaphor for the delicate balance between vulnerability and strength, capturing how the weight of love and pain can become almost unbearable, especially when intertwined with the struggles of mental illness.
Finally, SERAFINE1369’s choreography creates moments of transcendence, inviting the audience to experience the liberating aspects of movement amidst urban chaos. Their performance captures the beauty of presence, making for a fitting conclusion to the event.
How Does It Feel? is a profound exploration of intimacy and technology, encouraging participants to consider their connections with themselves and others. The thoughtful curation by Orlagh Woods and Clayton Lee fosters a cohesive experience that lingers long after the final performance, prompting continued reflection on the sensations generated by possession and automation.
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