Supernatural (2015)

Observing the Supernatural grants access to a shared kaleidoscopic body.

Human and non-human actants camp for the night together on a hot pink terrain under an unblinking fluorescent sky. With axes, wood, violin, electronics and the bare body, Simone Aughterlony, Antonija Livingstone and Hahn Rowe stage a careful inquiry into some vibrant matters.

Through practicing a meditation and a choreography of reorienting the hierarchy of thinking and sensing, a fluid new rapport with the material and immaterial world is perceived and played with.

The repurposing of recognizable human behaviours engender by-product activities that may seem like dancing, and might sound like music. The vigour of the blade, the skin, the wood, the rope, the gaze, and all in our midst, buzz together lovingly in a hot debate on the political ecology of things.

Supernatural suggests a wilderness that signifies a plurality of agencies without ontological hierarchy – a wilderness that might even refuse a bifurcation of being into nature and culture or any binary. Queer lives know that being in disguise can encourage the dissolution of normative identity patterns of recognition. Supernatural actively chops up the topography of gender perceptions and welcomes the joyful techno construction of multiple bodies and pleasures. Performing Supernatural renders assemblages that are living, throbbing confederations able to function and transform despite the persistent presence of energies (hegemonic systems) that confound them.

Is this movement research or fun post-porn practice?
Whatever it is, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.