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Fleur Khani & António Onio - HEROSHIMA

maa 15/09/2014 > maa 29/09/2014

HEROSHIMA is a surviving body, the hero that survives abuse. HEROSHIMA says the things that everyone thinks, but nobody wants to say. HEROSHIMA was made in a society where information is transmitted so fast that we assimilate it without a filter. HEROSHIMA doesn’t need ethics because it survived codes of social interaction. HEROSHIMA has a toxic existence, that is both micro and macro infectious. HEROSHIMA rests in between explosions and implosions. HEROSHIMA is the abject that just keeps on resisting. HEROSHIMA doesn’t forgive and it never forgot. HEROSHIMA slides through different contexts, universes, ethnicities, personal histories, viral videos. HEROSHIMA rests in a silver chamber, or on an internet website, or maybe in your liver. HEROSHIMA doesn’t know and keeps on forgetting. HEROSHIMA questions and changes subject really quickly. HEROSHIMA is António Onio and Fleur Khani. HEROSHIMA is a sensorial experience that is carefully crafted with transmedial care. HEROSHIMA performs a ritual on stage and asks: what are the limits of transcendence? But HEROSHIMA smiles and laughs in a mean and sexy fashion. Because HEROSHIMA knows that, after transcendence, there is only an infinite landmine of nothing.

HEROSHIMA is a performance in collaboration by António Onio and Fleur Khani that wants to push through our own conception of dancemaking as dance makers. What does create effect? How do we relate our desires as makers to the expectaction of being on stage? How do we relate our own personal history inside a performance? For Antonio and Fleur, the abject body became the focus of choreographic research. Largely inspired by the history of radioactive bodies, of bodies that do not hold themselves, of infections that are not curable, they devise a choreography that goes for embodiment of this different stages of decay and abjection.
Largely inspired as well by the way society consumes information, HEROSHIMA tries to create a sort of thesaurus of references and symbologies that do not act on themselves alone as a receptor of meaning, but rather HEROSHIMA proposes a language, a jargon to speak about contemporary performance from the inside out. By amending this collage of symbols and references, they become a part of a bigger (w)hole, in which this society, engulfed by the amount of self-referential information it has, sees its own reflection.

António and Fleur met each other in Ivo Dimchev’s workspace in Brussels in 2013. During the summer of 2013 at Impulstanz Festival, they realized how complementary they were on many levels and that they wanted to work together. Beginning 2014 they started HEROSHIMA.
António Onio (1989) studied dance at SNDO, School for New Dance Development, in Amsterdam. From 2011 António starts developing his own works and he also works with Fernando Belfiore, Igor Dobricic, Diego Gil, Tiago Guedes and others. In 2013 he receives the DanceWeb Scholarship in Vienna, Austria. Since 2010 the main focus of his artistic approach has been to develop his own performance works, which focus on the fine barriers between the private,t the personal and the general, ;the trandisciplinary nature of performance art ; the body as a tool, and specifically with queer thematics, questioning everything, from the roles inside western society, to homophobia and patriarchism, and relentlessly promoting vulnerability, softness and suppleness as weapons to fight the system that entraps us everyday so fast.

Fleur Khani (1986) works as a performer and a writer. After studying Dramatic Arts at the Herman Teirlinck Instituut in Antwerp, Belgium, she enrolls in the artistic research program a.pass (Advanced Performance and Scenography Studies) in Brussels, where she graduates in 2013 with the work Texture(s), that is a musical research into the potential of text, physicality and intimacy on stage. In 2013 she receives the DanceWeb Scholarship in Vienna, Austria. She worked with and for Michaël Roskam, Claudia Bosse, Elke Van Campenhout, Davis Freeman, Heike Langsdorf, Veridiana Zurita and many others in the field of performance, theatre and cinema. Khani is currently an artist in residency at the Pianofabriek Kunstenwerkplaats in Brussels, where she develops her work Space Agency, a work operates on the memory and imagination of the audience through music and words. In 2014 she will release her first film For the Record (Animal Tank Productions).