Fleshion appearances - performance
Our research is part of a long-term research under the name of Archeology of Desire which deals with notions of archeology, time, desire, body and fashion.
Focused on the idea that touch is a ground of pure abstraction. Touching triggers an abstract de-correlative thinking, that draws attention to the ways in which bodies (re)connect with virtual desires in the processes of restraint or release.
We work on three aspects of synesthesia (translation; mental imagery; and narratives), the body is recognized as our main site and agent for embodied thinking. The body is called forth to produce in other forms of temporalities, politics, and aesthetics.
The research will, therefore, attempt to catalyze a non-normative approach to "appearances" or "apparitions" that arise from within the technologically-mediated relationships that exist between the body and fashion – its intimate friction, from the surface of the skin, in contact with an experimental assemblage of materialities. Of the various qualities that distinguish the surface of solids and folds (from rough; to smooth; hard; soft; and slippery), we will explore the latter concatenation of forms, from the idea that Aristotle first developed in relation to morphology and the human flesh, so-called ”the softest of all animals" or "the one that is ready to come apart."
The notions of flesh, texture, and morphology will not only be experimentally implemented through our own bodies, as participants in the acts of creation (through dance, fashion, and other body-related performative practices or media), we will explore how these concepts arise within the experience of sound morphologies, specifically to do with timbre and other vibrational faculties of perception. Following Suely Rolnik’s idea of Lygya Clark notion of vibrational body, the body that has been forgotten.
We use Clark’s tools and experiences to trigger performatives scores as well as our curiosity over historical culture remains applying a kind of archeological approach in which projections of past and future play a very fundamental role.
Fleshion is a term invented to describe the invisible interaction between fashion and the flesh (body) and the ways in which they constantly affect, co-constitute or even disagree with each other. Fashion taken as a mode of operation or action with its material qualities (shape, volume, texture, color, etc.) interacts with the body through its perceptive skills, therefore, affecting its attitude, producing narratives, performance, modes of behavior, social, political and cultural codes.
The mediated body is our starting-point: as an "archaeological site" of a specific materiality; a technology; and a collection of unknown possibilities and distinct (micro) temporalities of desire. Our biological body is, in other words, not given to naturalistic descriptors or epistemic cues, since it is as much (or even more so) a fictional ignition for activating memories (and or traumas) that generate a game between self-images and distorted mirrors, perverse projections, and effects in time. Thus, the outcome brings up the friction between nature and culture as well as poetics and politics.
Offering a public experimentation as well opening our process to any kind of participants regardless of age, gender, social or cultural background. We propose a meditative catwalk dance manifesto of appearances.
In short, Fleshion [appearances] navigates by the poetics and the politics of appearances and deals with touching as an ignition for abstraction, as an attempt to invent an aesthetics of touch.