What if we define values, principles, and methodologies, resisting the pressure to define outcomes? What if we focus on what drives us and on how we want to live and work together, but leave the imagination open to the concrete shapes our collaboration can take?
Under El Sisi, where every inch of the city is controlled by the army, censorship spreads like a plague, and the possibility of any form of creative expression in the public space – especially graffiti, which was an extremely important medium during the revolution – is close to nil. And so the appearance of a work of street art on such a gigantic scale is phenomenal.
The sun filters through and different hues dance on the table top and blind my eyes. I’m busy but I’ve stopped, and I run my finger softly over it. Its surface, as smooth as a mirror, seems to form a meniscus around my fingers and just for a moment I’m not sure where it begins and I end.
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
Dangling in mid-air like a thrust-out tongue, an oval-shaped rocky surface extends from the mouth of a cave to form a rough-hewn apron stage in the middle of a mountain.
It should be noted that the history of populism in the Americas is deeply entwined with the history of the balcony.
Couchscore works with and through distance to make a choreography possible even when the performers – and the audience – are not in the same physical place.
It starts when clearance is given. The house is opened. People begin to drift in.
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
Can you see it? A huge expanse of water, crystal clear, a cliché. Dotted with little floating heads.