This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Artist Statement
This piece has 3 parts at different sites, first with Akio Suzuki, second with Hans Peter Kuhn, third with Rolf Julius. These sound artists who were all invited here to the Mattress Factory are also my most important collaborators. Since the three sound pieces are very different, my dances and also my costumes will correspondingly vary. The mood of each dance is related to the actual piece. Although their works are different, for me the three artists have some sort of similarity in their basic concept. That is my bridge between the dances.
Exhibition
After studying painting at Musashino Art University in Tokyo Junko Wada was working on large-scale abstract painting. The physical aspect of the work led her to her very personal dance style. The source of painting and dance are the same and the body became an equivalent abstract sculpture in space. As she uses the brush for her paintings, she paints with her body on stage and the dance becomes a three-dimensional painting in space. Both – painting and dance – are abstract and have a faint relation to traditional Japanese art. Since 1985 she collaborated mainly with the sound artists Akio Suzuki, Rolf Julius, Hans Peter Kuhn, and others. She has performed in many museums, galleries, and public sites worldwide, including Centre Pompidou, Paris; Neue Nationalgalerie, Berlin; Asian Art Museum, SanFrancisco; Museo de Arte de Sao Paulo; and Stedelijk Museum, Amsterdam.
