Emma Murray & Latefa Wiersch

In absurd and confronting transformations of the body, dancers include inanimate objects into their sensual enquiry; Where do I end and you begin? Through this interaction, dancers and sound designer Belia Winnewisser practice coming alive. People turn people into objects. Incessantly, we name, evaluate, categorise, discriminate, sexualise, racialise. If becoming a stranger to one’s own body is a joyful voyage of discovery for some, the foreign view of one’s own body is a constant burden for others.

By challenging power structures that succeed in othering or objectifying marginalised people, PUDDING CLUB proposes a system of assemblages that re-distribute life-matter binaries and the agency between bodies, forces and things. Through the erotics of loitering, the audience are invited to tune their awareness to what is already always there, but rarely recognised, the extent to which the us and the it slip slide into each other and human-being and thing-hood overlap. Human and non-human performers provide a host of unstable associations. Attention is constantly redirected by slippery hybrids and configurations of inert and animate matter.

PUDDING CLUB proposes its long durational performance from an interest in discordant things assembling or meeting. This is also the place from where the divergent practices of sculpture and dance meet and the choreographer and performer Emma Murray and visual artist Latefa Wiersch collaborate. Encountering the body in an unrecognisable form invites a radical confrontation with ourselves not as ongoing, unified entities. The vibrant matter of Wiersch’s sculpture and Murray’s subversive choreographic enquiry raises questions about the boundaries of self. As a result, bodies, both inorganic and organic are experienced as unstable and unfolding, with power to animate and generate subtle and dramatic events.