A performance of transformation, a transformance, changes its medium and encounters a camera, which plays dance music-under the secret eye of a room that bends and twists along with it. The “Legal Errorist”-personified by the dancer Stephanie Cumming- is a creature that cannot stop crashing. The sudden overpowering by the “error,” the system error, engenders the creature's obsession. She commences with great relish through a series of transformations; that which hits upon the limits of a simple machine serves as a learning program for the “Legal Errorist.” Film and performance-parallel projection or articulated interference? Massively, like a mountain, the body of the “Errorist” falls to the floor and lands with an obstinate sound whose source seems remote from anything human. As though she were her own director, she speaks animatedly with numerous invisible colleagues. She speaks to the microphone, not through it: an eerie animated world of objects, which become fellow creatures when one creature cannot categorize herself precisely. “What?!?” roars the “Legal Errorist” defiantly as though to a higher being in the dark, and not the diffuse collective of the audience. And she begins to lure the gaze through the catalogue of her body parts. The voyeur's fatally bundled attention seems inverse to the body set against it, anamorphically distorted by the extremely wide-angled lens. Does this gaze document a foul subjectivity or does this closed world look back as its own lens? The camera is a shrewd ally in the counterattack launched by the body on display.
Courtesy of the artist