An avant-garde performance of theatrical collective reality.
The--family by Wojciech KosmaHuman Resources (410 Cottage Home St, Los Angeles, CA 90012) Map it
A performance by The--family (with Sjoerd Dijk and Wojciech Kosma)
Liberty is everything when it necessitates a love for a human
a performance by The--family (with Sjoerd Dijk and Wojciech Kosma)
in conjunction with the exhibition Drowning and swallowing this text, opening March 13 at LACE
at best the contradictions are contemplated,
but it promises a child badassness intersecting you
and real time coinciding with the summoned time.
liberty is everything
when it necessitates a love for a human
of the kind that grants nothing outside of presence,
since shit gets as real
as your living way a faithful copy of it
The--family consists of collaborators who relate to one another transparently and intimately in an ongoing performative practice that creates a collective reality – at times theatrical, yet hardly staged.
The--family performs regularly in Berlin and occasionally where some of the performers are based, including Los Angeles.
Please note: Doors close promptly at 7PM with no late entries. The performance runs approximately two hours.
Information on the exhibition:
Drowning and swallowing this text
Curated by Shoghig Halajian and Suzy M. Halajian
LACE (Los Angeles Contemporary Exhibitions)
6522 Hollywood Blvd, Los Angeles 90028
Opening March 13, 2014, 7-10PM
Exhibition run March 14-April 20, 2014
with Math Bass, A.K. Burns, Ana Hoffner, Joan Jonas, Tala Madani, MPA, Virginia Poundstone, Laure Prouvost, Mounira Al Solh, Jill Spector, Lawrence Weiner and The--family (organized by Wojciech Kosma).
For more information, visit www.welcometolace.org.
The--family consists of collaborators who relate to one another transparently and intimately in an ongoing performative practice that creates a collective reality – at times theatrical, yet hardly staged. Their bonds can and do manifest as conventional social behavior, not unlike the ecstasy, exhaustion, amusement, engagement, boredom and repetition known to lovers, friends or collaborators. The local and collective nature of the practice bound with the diversity of the performers elude a mere dramatic rehashing of social behavior, ritualizing instead the possibility of what is unscripted in human encounters.
Although rehearsed within parameters of loose feedback, all performances remain unset. It’s the co-presence of performers and audience that sets an iteration of the relationship in motion. Relying only on their shared rehearsal history, the performers make it up as they go along, rendering the dynamics of a private situation — for example intimacy, affection, and awkwardness — a situation for public participation. How the performers relate and commit to one another is the actuality of any single occurrence of the work. They live it as a sort of familiar unpredictability while creating a minimally if at all aestheticized effect. The performers come as they are, offering themselves as themselves; the sensations shared throughout the performance make or undo any self in the room.
The--family has positioned itself in art, regarding it as one of the few fields where such a proposal is practicable. The performances are artworks insofar as they are a condensed instance of an evolving relationship put on display within the structures and institutions of art. To this effect, the--family engages art ethically, considering its activities a form of play not aligned with discourses of work. Monetary transactions make the practice economically manageable, are occasional at best and revolve around covering costs. As a host of this ethic, art is also valuable in creating a larger audience beyond the ongoing open rehearsals. The--family is thriving.