What if you cut a line in two parts and stood right at the point where you cut it..where are you then? Latencia invites you to fall in love with details. Considering a split of attention as a space to grow, a potential to multiply, can we listen to our multiple rhythms? The ones we conceal to contain ourselves?
In „Latencia“ I was training the multidirectional listening and I engaged in practices of multi-tasking, splitting attention and integrate thinking into the experience of the affective journey. Treating acting as a form of possession, I was researching processes of embodiment and I was looking for ways to get to a state on the limit of control to let something else appear that takes over.
Integrating text materials from movies, („Possession“ by Andrzej Zulawski, „A woman under influence“ by John Cassavetes), soap operas (e.g. María la del Barrio),concert moderations of Nina Simone, own writings,playing with different modes of performing from detachment strategies, exaggeration, to artificiality and private small talk I was searching for an embodied continuity, a rhythm in the space that we could all follow.
Latency (spanish „Latencia") as a concept can refer to something present but not yet visible, something boiling underneath the surface, to simultanity, a delay of cause and effect, to the time between infection and infectiousness. Latency is a threat and a promise at the same time.
Latencia invites the audience to a weirdly dosed meal, there is a cucumber,stones to eat, questions are being asked, it is an invitation to meet beyond the agreed meaning of language, it is an invitation of being together while strange things are happening, to connect through our heartbeats, to expand what we think is normal, to be confronted with your own subjectivity. „Private life is a stage and I am playing many parts that are smaller than me.“ Latencia is something between a casual gathering and a ritual, it is also a pretext to build a temporary home as a possibility for the artist to host people
Creation and performance: Susanne Grau
artistic advice: Aitana Cordero
technical support, collaboration: Raffaella Menchetti, José Miguel Neira
developed in the first half of 2019 in Madrid, continued in February 2020 in a residency in Sala Baratza in Victoria