There is an increasing human demographic, one that I would call slippery identities, alluding to creatures that elude captivity due to their slipperiness: like fishes in the water, or snakes that cyclically molt to born new skins. Likewise, there are slippery human beings that move for a plethora of reasons and are resistant to any sedentary grip, ready to ‘swim’ from one city to another, and to cross one discipline to another. This open-ended project profiles the movements of artists that are characterized by flux and shiftings; of increased levels of mobility and constant negotiation with their subjectivity. Experience form the basis of their artistic practice resulting in performances that transgress somewhat hardened borders of art, emerging out of modern conventional spaces and institutionalization. Their ambulant identities and corporeal resistance to subscribe to too fixed constructions lead to the activation of the human subject as a nomad. The practice of nomadism, according to Rosi Braidotti, implies internalized awareness of the ephemerality of any boundaries, for boundaries merely serve a temporal purpose, and when they are no longer useful, they are to be transgressed, trespassed, deterritorialized and reterritorialized.[i] How then do nomadic artists negotiate (transgress or trespass) a transnational practice in an international scene that is still often dealt within national terms? When the processes of globalization create more and more deterritorialized transnational citizens that at the same time experience clashes with existing real national borders and a fixed notion of national identity, I question how far the performer’s body and practice challenge these borders? What perspectives do autobiographic, mobile performance practices propose to constantly rethink outdated configurations of human subjectivity?
[i] Rosi Braidotti, Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory (New York: Columbia University Press, 1994), 36.
Image: Klaus Maehring