Why is The Spectacle still actual? How can we move on?

Where are we moving?

Why can’t we use politics as a weapon?

Where are the politics?

What multitudes and layers is art producing?

Who can answer my questions?

What is this who?

Why am I an artist asking these questions?

What is the periphery I am trying to situate myself in?

Who is the I that says who?

Matthieu, am I too late to add an article in your immaterial journal about Jennifer Boyd’s The Strange-girl?

Still looking for a form in a context that is unknown

Like creating a map in an unknown territory

Where lies the immediacy?

When will I have time to explore the work of Andrea Fraser?

Why do angry women define their repressive walls?

Where do I put this?

Sven, what is your container?

How do you define your walls?

I hope you will answer, I always appreciate your attempts of answering impossibilities as if they were practical matters.

How can one be a flying demon in 2017?

How does the costume look?

Where do I put the immediacy?

Where is the alarms ringing?

Where do crowds gather without them knowing they are benefitting from being in a room together?

We have the priest, we have the master of ceremony. We have the choreographer.

Who is the author?

How would you do in 2017, Kathy Acker?

If I find an answer, I can build territories of actualities. To create forms to situate my work within.

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Choreographed by Ruairí Donovan
Made in collaboration and performed by: Asher O’Gorman (UK), Cathy Walsh (IRL), Isabella Oberlander (AU), Karina Sarkissova (SE), Claire Keating (IRL) with an Ensemble Community Cast from Cork.
Producer: Aideen Wylde
Lighting Designer: Deirdre Dwyer

Cork Midsummer festival, 21-23 june 2013