Andros Zins-Browne
Échelle Humaine / Already Unmade
© Already Unmade © Lafayette Anticipations ©
© Already Unmade © Lafayette Anticipations ©
© Already Unmade © Lafayette Anticipations ©
© Already Unmade © Lafayette Anticipations ©
Already Unmade
Conceived by, Andros Zins-Browne
With Jaime Llopis, Sandy Williams and Andros Zins-Browne
Commissioned by the Fondation Boghossian/Villa Empain (Brussels) produced by Nicola Lees and Asad Raza // In coproduction with The Great Indoors (Brussels)
First performed on the 18th of May 2016 at the Villa Empain, Fondation Boghossian (Brussels)
La Fondation d’entreprise Hermès is the patron of the Anne Teresa De Keersmaeker Portrait.
Partnership with France Inter
For this first edition of Échelle Humaine, the Lafayette Anticipations dance festival will be teaming up with the Festival d’Automne’s Portrait of Anne Teresa De Keersmaeker. Over the course of a week, the choreographer, in the company of Andros Zins-Browne, Eleanor Bauer and Radouan Mriziga will be taking over the playing spaces of the new foundation with movement. In Already Unmade, Andros Zins-Browne and two other dancers will, over the course of three days, be inviting audiences to a game of deconstruction, via the spoken word, of their memories as performers.
Over the past decade, Andros Zins-Browne has been developing a hybrid body of work at the intersection between installation, performance and conceptual dance. In each of his pieces, the American choreographer pays particular attention to the nature of the images, how they are produced and circulate, how they enter into movement, in both literal and symbolic terms, and how they are interpreted by onlookers. In Already Unmade, a piece based on a process of unlearning, Zins-Browne joins up with other dancers in order to collectively examine each of their personal choreographic histories and deconstruct, little by little, their physical memories as performers. Already Unmade takes a reverse look at the habitual presentation format of a choreographic work : here the departure point for the dancers is that of a “finished” object” which they dissect and modify over the course of a day via the interplay between subtle repetitions.
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Running time: continuous performance