Living the Good Life – by a variety of means humans try to control their nature and are thereby confronted with the phenomenon of time and the speed by which it passes by. If anything existed outside the framework of time, outside perishableness, then, the quality of an event would increase due to its temporal recurrence. Growing and outgrowing one’s self are set as the basic approach to movement, while the body is being transformed into a cybernetic landscape by the repetition of movement cycles.

Mush:Room is part of The Perfect Garden Series, a series of live-performances and object installations in collaboration with the visual artist Michel Blazy.

photos: chris haring

video: michael loizenbauer

In the temporary secondhand paradises by visual artist Michel Blazy, Liquid Loft deal with possible ›concepts of living and being perfect‹ critically, but also with a grain of salt.

The notion of the garden serves as a metaphor for the modus operandi for the modular performances within this series. The perfect garden needs to be flexible, it not only serves as playing field and ambience, but also as a well of inspiration, a kind of living organism, an inner design looking to come to fruition, while colliding with the external conditions.

text by Andreas Spiegl

The latest project in Liquid Loft’s performance - series »The Perfect Garden« developed for Tanzquartier, deals with today’s possible and impossible ways to spend time. Where the first project, titled »Wellness«, dealt with the corresponding ideas of sportiveness, fitness and an ever-ready well-being, Mush:Room turns its focus on to another sprout and growth: the imagination of a present under conditions of simultaneity of various forms; to make use of time, to spend it, feel it, forget it, leave it, repeat it, overtake it and miss it. In this simultaneousness of differing demands of the momentarily the question for the singular way of spending time vanishes: Not the singular experience counts, but the knowledge of the difference between this experience and the next. The most banal moment and the moment of ecstasy meet on eye level. This is why, for this project, a seemingly minor sequence becomes the starting point for a returning motif. Where, in the 19th century the time-machine seemed to permit humans to transfer their intact body into different eras, it seems that at the beginning of the 21st century the body itself manifests as a time-machine, as an ensemble of different time-zones and –horizons beneath a common skin. While doing the one thing, thinking of another at the same time, a third thing happens unexpectedly and we fall in love with the unforeseen, which, free from a future or a past, suddenly pushes itself into life; a surprise which is unsurprising, since we are anyway and without a choice hoping for the surprise as a way out of our everyday lives. Somewhat less surprising, we find that this everyday hope for the ever and all-unexpected, carries the charm of repetition and the repeatable in itself – as if there was a mechanics of being surprised, a rehearsal of the exception.

In this performance everyday way of simultaneously spending time in the different time-zones of the body and the various conceptions that go along, are analyzed under the magnifying glass of dance and choreography. The laboratory space for this venture is provided by a cubic room. A room within a room, which only casts few shadows – as few as the times being illuminated and passed through, within. Metaphorically this room in room stands for a temporal cocoon, housing something that grows, which will have been a whole day, a second, a year, a life and a decisive moment; more so, it will have been a memory, without ever being able to account for a concept of a time grown from past, present and future. In this sense there grows, in this Perfect Garden, the inconsiderate as the only way of being considerate of the different and simultaneous demands. Demands, that can’t be brought under one umbrella, but are housed beneath one skin.

translation: Oliver Stummer