In (S)pozaba kaprice / Caprice (Re)lapse the dancer surrenders her own expression to the record of memory which - although forgotten - has been stored in the muteness of the body. Within this empty space, the structure of the concealed writes of a vanishing and re-emerging body. Vacant space, in much the same manner as silence, has yet to be established. It is depicted by (an inaudible) voice which operates as a horizon on which other voices register.
It is a voice that seems not to exist, because it is inaudible and taken for granted. The voice of space. Incorporates the voice which has already been articulated and has faded away. It works and is present only as a memory of something past, something finished – and as a record, something semi-erased, mutilated, relocated. It is a voice that seems not to exist because it is a matter of past. The voice of memory. Shares a place with and is influenced by the voice which emerges from the same point, becomes entangled between the holes of memory, and leaves behind traces and disrupted silence when it disappears. It is a voice that seems not to exist because it ceases to exist while emerging. The voice of body.
…Memory of the body gives voice to the forgotten…
Body with regard to a space of voices…
Body is the space being listened to.
Voice is imageless.
Body is mute.
Body is voiceless.
Voice is something else…
Body of voice itself is not the body of the one who speaks.
Body of voice is not body of body.
Body of body is not body of voice.
Voice is sealed with body.
Body of voice is oscillation in the dimension of emergence and divergence.
Body of voice is an empty space stripped by voice.
… the structure of voice reveals the landscape of body.
Why repeat with a difference? Why return to the faded paper of forgotten and refused material, and dig out the remaining deposits of memory from something that belongs to history? A work process may have several inter-stations. These crossings are intersections of various eventual outcomes – decisions in the middle of a process that are crucial to the final outcome and countenance of the project. At each of these nodes, the author(s) compile balance sheets of what has already been done, reinvestigate approaches to the methods and materials, analyse structures and decide upon a particular direction and manner in which the process shall be completed; while at every such stage work is accomplished within the set premises. Intermediate stages of the work process may be either something completely different from the final product – but nonetheless of critical importance – or merely atrophied productions of the final form. If one returns to any such inter-station, before heading off in a new and different direction, what challenges will there be? Where will it lead? And what will be the outcome? To return to the reservoir of memory, from which one can draw something that was once abandoned or never used, the outcome is changed, while the resultant challenge leads to a different countenance of performance.
… Memory might be just a way of accepting the forgotten…