- enter 00:00
- perspective dissipating into movement 00:00
- listen 00:00
- signs 00:00
- ground adaptation 00:00
- touch-me-not 00:00
- memory cultivation 00:00
- mycelial 00:00
- edible-non-edible 00:00
- structurally unsound 00:00
- stream 00:00
- axis 00:00
- wet 00:00
- cameocopy 00:00
- map 00:00
by Nina Djekić
Work comes online 22 January 2021
During this time of the global pandemic, many of us have at least in part rediscovered forests and other natural ecosystems populated by a variety of other-than-human agents. These lively environments have again proven to be an ever so welcome extension to our homes. An outside to the confines of anxiety where we can exercise, relax or reflect. Imbuing us with a sense of relief, stimulation and companionship.
X Steps Through A Forest is a sound piece in the form of an experiential audio guide. Interspersed with choreographic anecdotes, the work consists of multiple short soundtracks that as a series of movement routines lead the listener on a journey through the forest. Guiding one’s awareness towards variety of movements and physicalities that transpire both within our environment as in our own bodies.
The listeners are encouraged to listen to the work during a walk through their neighboring forest. But also, for those who do not have access to such an environment. With hopes that these mnemonic evocations help transpose oneself into the forest from wherever one is.
Concept and text: Nina Djekić
Voice: Weixin Quek Chong
Sound design: Tini Aliman
NINA DJEKIĆ
Born in 1989 in Ljubljana, Slovenia, Nina Djekić is an artist and choreographer based in between Singapore and the Netherlands. She graduated with a BA in choreography from School for New Dance Development and an MFA from Sandberg Instituut, both in Amsterdam. Her work revolves around choreographic notions in exhibitionary settings. It looks at the bodily engagements between the artwork and the visitor as well as the affect the uncanny presence of artworks has on the relationship between the visitors themselves. Often conflating the conventions of writing with the scoring of movement, her curiosity lies in the relation between embodiment and language. Central to this is the notion of empathy, as an ability to be moved (physically and/or otherwise) and how to choreograph it.
