In Perpetuity is about magic. A magic that has been stolen from our bodies – emptied of their sensuous connections to the world by destructive economic processes that wreak havoc on the living. Capitalist social relations condemn us to a life of wage labour that is dependent upon a pre-occupation with the future. Economics functions through speculation, through fictions of an indeterminate future. This speculative time destroys the possibilities of the present by foreclosing a channel of action directed toward the production of surplus profit at the demands of the economy. Bodies are put to work to this end (human and non-human, living and non-living), and the notion of labour can evocatively thus become a notion of the living dead – their magic obscured by their reduction into exchange value for sale in markets.
Creative Development for In Perpetuity has been supported by:
Chunky Move as part of their MAXIMISED program
Performance Space and Critical Path under their annual co-commissioned ‘Experimental Choreography Residency’; April and July, 2019
Tanzhaus Zurich and Critical Path; Artist in residence, December 2018
Research for In Perpetuity has been supported by:
Critical Path and Strange Attractor as part of ‘Choreo-hack Lab: The Anthropocene’, at the Museum of Applied Arts and Sciences (MAAS – Powerhouse Museum, Sydney) in the frame of Sydney Festival; January 2019 – In collaboration with Political Economist, Riki Scanlan.
City of Sydney as part of ‘Talking Bodies’, at Surry Hills Library. A residency and performance lecture series curated by Rhiannon Newton and Katy Green-Loughrey; April 2019.