Wandering/Warsaw is a site-specific performance piece choreographed by John Jasperse (USA) for the exhibition Julie Mehretu: Kairos / Hauntological Variations.
Unfolding in the gallery space, the piece emerged from a shared curiosity between multiple artists: who has the agency to wander, and how can we summon movement across space through the coalescence of visual, choreographic, and sonic imaginaries? At the starting point of this inquiry is the visual and choreographic synergy between artist Julie Mehretu’s and choreographer John Jasperse’s investments in the liberatory potential of abstraction in their work.
In Jasperse’s choreography, the whole body becomes a device for sensing. Paintings by Julie Mehretu are not just a backdrop for performers’ actions—they act as the latter’s partners, suggesting to dancers the rhythms, directions, and dynamics for their movement. Featuring six dancers and two composers (one live), the piece brings our attention all the more to the energetic, political, sensual, layered surfaces of Mehretu’s work.
How do choreo-sonic landscapes enliven her paintings? And how, in turn, do her works activate dancers’ and musicians’ actions? Transposed and refigured for Warsaw, the project casts human bodies in ever-changing roles—of the brush, as it paints; the sense, as it sees, hears, or feels; the mourner, as they wail; the ghost, as it haunts; the guide, as they show others the way; the lover, as they caress and are caressed; the scream, as it is let out after it has been held; or the wanderer, as they go on.
“When does the dancing body here function as paintbrush, feeler, mourner, activator, silence, healer, soldier, ghost, chaos, sound, child, sketch, griot, lover, color, guide, rhythm, scream, seducer, frenzy, or wanderer? And how will sound transport us temporally, to yesteryears, afrofutures, and queer utopias? The audience, also a collective of internal and external wanderers, will live in this moment with us,” says says producer and dramturg, Ariel Osterweis.