A minimal and elegant performance with flashes of deadpan humor, in which the performer plays with a furniture machine that has a will of its own. When you furnish a flat, a kind of self-portrait...

A minimal and elegant performance with flashes of deadpan humor, in which the performer plays with a furniture machine that has a will of its own.

When you furnish a flat, a kind of self-portrait emerges. If you set up a stage, however, then you are portraying a person about whom you not only don??™t know what they actually like, but you cannot even say exactly who they are. In A Stage Matrix, the performer is assisted by a ???furniture machine??? which is so stubborn that one almost gets the impression that the person is portraying the furniture and not
vice versa. The performer moves between the role of a Utopian craftsman ??“ a specialist in extraterrestrial environment ??“ and that of a tool in a big machine. What remains unclear is what or who is influencing or initiating whom.

Markus Schinwald's Ten in Love will also be shown as a part of Dance After Choreography: From Judson to the Present.

Ten in Love
(2006, 4 minutes)

Austrian artist Schinwald fills a stark white environment with unexpected gadgetry and mysterious characters interacting with each other through movement.