dancing plague gamec , bergamo

Curated by Panos Giannikopoulos.  

For Dancing Plague, he introduces Vision Spells; a collection of gazes, resuscitated as Xeroxed, collaged compositions on paper, ultimately printed on silk. Crepe de chine, suspended from its coiling brass support, is reminiscent of an older generation while silk as a textile relates to female labor. The fabric works as a sensorial metaphor that transcends vision and is suggestive of touch (the mother, the comforter, the lover) and other haptic relationalities. Sets of wandering eyes are arranged as a rhythmic vortex, undulating in cycles around and away from or toward a point. They are captured in the final throws of a rampant 24-hour queer dance party. An archive of brief encounters, movements and stares is presented as a garment, a foulard or a back-pocketed bandana, blown up in space. Anonymous individuals immortalised in time-are hyper-connected in a frenetic, circular grouping usually associated with ephemeral gatherings of close proximity and climax. Each Vision Spell allows for a certain phenomenology in their intended secondary function as a tool for coded visual incantation during person-to-person connection.

Klaus proposes a new dance vortex as a vehicle of imagination, considering grief and celebration, desire, fear and intimacy, beyond a specific time frame. Whether recalling pre-AIDS hanky-codes in moral defiance as a bandana or fashioned in adherence with the most basic of WHO guidelines, the Vision Spells ignite a layered language of glances conjuring varieties of signals as they become invitations, warnings, barricades, or passageways.