'Ex-peau-sition'- ('exbi-skin') is a sensory / tactile work. The visitor / participant is invited to receive a tactile choreography performed on his/her/their body, inspired by some of Brancusi’s sculptures—some of which are displayed in the exhibition Brancusi. Sublimation of Form at BOZAR.
'Ex-peau-sition' re-contextualises Brancusi’s sculptural work from a corporeal and sensorial perspective. It concentrates on senses other than vision and turns the viewer into a subject and the contemplative into the experiential.
The juxtaposition of the tactile sphere and the exhibition space aims to eliminate the gaze, focusing mainly on sensory perceptions, experiences and the suspension of contemplation and aesthetic representation. This approach refers to the pre-aesthetic phase, to the "aisthesis" - perception and sensory experiences as a way of knowing before the visual and the representable. The tactile paradigm is an escape from the visible to the invisible sphere of the subjective and affective body-reality and connects the participant / visitor to their inner self, to the biological and cellular architecture of the body.
The tactile compositions follow anatomical pathways and spatio-temporal determinants. They work with the somato-sensory system, with touch receptors registering texture, pressure, movement, pain and vibration, with layers—the skin, muscles, joints, fat, fluids, fascia and clothing. The sculptural realm—volume, form, surface, texture, dynamic, spacial environment, materiality, perspective—corresponds to the various functions of the skin and the body: pressing, compressing, kneading, brushing, stroking, rubbing and other tactile procedures. 'Ex-peau-sition' choreographs awareness through touch.
The work "Ex-peau-sition" resists the museum protocol mediated by filters—real or aesthetic and deprived of the tactile component. By transforming the viewer into a subject, "Ex-peau-sition" proposes a palpable approach to Brancusi's creation. The artistic demarche to operate in the tactile sphere is also a response to the hyper-commercialization, the commodification and glorification of the object in the art scene.
Madalina Dan: author / Johanna Ackva & Madalina Dan: touch performers / Joëlle Serret; sound compositions / TBC: space concept / TBC: costumes
Madalina Dan studied at the Choreography High School in Bucharest and at the choreography department of the National University of Theatre and Film, where she also received her Master's in Playwriting. She was a member of the Oleg Danovski Ballet Company from 1998 until 2003. She was an invited artist at the Herberger Institute, School of Dance (Arizona State University) in 2009 and in 2008, she received the danceWEB scholarship in Vienna. She obtained a Master's in “Solo/Dance/Authorship” at HZT (2014-2016).
Throughout the years, she has been an active member of the contemporary dance community in Romania. She develops and teaches educational and social programmesat the National Dance Centre in Bucharest. In 2015, she received a CNDB award for her contributions to the development of contemporary art in Romania.
Works by Madalina Dan have been shown at the Springdance Festival Utrecht, Tanzquartier Wien, Balkan Dance Platform –Novi Sad, eXplore Dance Festival – Bukarest, Temps d’Images – Cluj, SouthBank Center & Chisenhale Dance Space- London, Fabrik Potsdam, Hebbel am Uffer – Berlin, TanzFabrik Berlin, Dance Theater Workshop – New York, Firkin Crane – Cork, Alta Theater – Prague and others. Her latest collaborations include Sergiu Matis, Agata Siniarska, Tahni Holt, Mihaela Dancs and Alexandra Pirici.