Adaptive Lines, 2007

16mm film transferred to digital, 3 minutes

Choreography and performance by Wiegmann

Cinematography by Margo Victor

click here to see the film

This piece was concetualized to lay bare the collaborative process—one that is part of dance production with lighting, costume and sound designers. My goal, though, was to react to each set of elements, allowing the dance to be altered by these factors, instead of the elements visually enhancing the work.
A text by Vito Acconci supported the process of this work. In “Vito Acconci on Activity”, he talks about adaptive lines of action:
“A performance can consist of performing (adhering to the terms of) a particular element (a rule, a space, a previous performance, another person)…..the performance can be set up as a learning process. When the performer makes a move, the consequences of his behavior can control his next move. The use of feedback can steady and bring into unison one stage of the performance, after which can come change as new material is imported and adapted to. The performer can work as a producer; the performance pattern can be linear—a series of additions of material. And energy. Or he can work as a consumer.”
–Vito Acconci, 1971

The wall text that accompanies this film sums up the process:
Step 1: Choreography by Wiegmann
Step 2: Space chosen by Walead Beshty
Step 3: Choreography adapted to space by Wiegmann
Step 4: Sound score produced by Alix Lambert and Joshua Myers
Step 5: Performance adapted to sound by Wiegmann
Step 6: Costume conceived of and produced by Andrea Zittel
Step 7: Performance adapted for costume
Step 8: Performance filmed and edited by Margo Victor

This process of addition and adaptation, resulted in a final edition that found repetition where there was none, experimented with film as a medium, and modifies the aspects of time and speed.

Author: flora wiegmann

Flora Wiegmann aims to recontextualize dance and grant it new possibilities for communication, and to question the limitations inherent in time-based performance. A relocation of dance from the theatrical stage to zones of different institutions as well as the outside world, gives rise to a rich and complex territory for discourse that links historical and contemporary positions of both dance and art simultaneously. Each project begins with a specific conceptual framework out of which the work unfolds. Historical inquiry is often a part of the process, whether it is regarding the specific site of performance or a current personal investigation. Wiegmann often collaborates with visual artists; these pairings of expertise have uncovered parallels between interests and influence, exposing interconnectedness between artistic practices of all categories. At the same time, she continues to create solo works that result in her own distinct findings.