January 21, 2015

I am an interdisciplinary artist, choreographer, dancer, improviser and teacher whose live-performance works includes video, installation, collaboration, writing, photography, speech, mapping and drawing. I strive to develop a new language for every piece. My performance projects aim to go beyond ”production,” with a sense of participatory engagement, and are concerned with issues such as power/powerlessness, consumerism, identity in diversity and «why are we alive?»

I’m obsessed with the production of the daily performance of self in a world of others, the pictorial images of self-representation in a world of others, and the self in production online in a world of others. We are all “polluted” bodies. In my work I pull things apart from different angles to build them back up in a way that allows for new possibilities of who we can be. Drawing on the laboratory of mixed emotions, the familiarity of everyday images, newspaper images of war and beauty and archetypal scenes—such as poses from classical and romantic art—I play with the tension and energies of the felt experience and the image. Familiarity gets expanded and re-constructed with abrupt scene changes. Bodies become more sensory apparatuses than characters. The body becomes a container. My intent is to let the performer and the viewer take their own responsibility for their action and to walk away with reflection and thoughts.

I have an urge to develop my practice as its own ecosystem, so each step becomes its own value, so the choreographic score is the same value as the live-performance. I believe there is a cultural shift in how we connect with each other. Therefore I see it as my responsibility through my creative practice to find new presentation contexts and territories for dance, choreography and the image outside and inside the theater, that provoke feeling, stimulate the senses, and activate the mind, to create a new Body. as a Certified Movement Analyst I observe everyday performance techniques and psychological strategies used in diverse social situations and use the structures of these diverse prefabricated social settings as a point of departure. One of my research practices as well is that I initiate interventions in the public sphere. These improvised intuitive disruptive live-performances, based on pre-planned conceptual choreographic scores, are played out by diverse artists such as dancers, actors, writers and passersby. As the social movement pattern gets interrupted it allows for accidents, which bring new possibilities of interaction and connection. Documentations of the disruptive performances through video, sound, writing and the artists’ own physical memory allows for recycling the experience into provocative, engaging, thought-out and scripted performances or other types of art work.

None of my interests are hierarchical. I believe in the idea of Whole Part Whole to find out ‘Why Are We Alive?’

Andrea Haenggi