During a long period of time, I sit in front of a blank page with the intention to make a point.

Then I make the Point.

The rule for my pointing process is simple:

a) I sit and let a desire for making a specific point to surface.

b) I ‘call’ the point by writing its name on a white page (ex: melting point, critical point, meeting point, burning point, still point, dead point, last point, red point, resolution point etc.)

 c) I go to the point using different systems of representation.

During this process of making points, I was committing in spontaneity, immediacy, accumulation, difference, persistence, repetition, exhaustion, and renewal. The book feeds from the uniqueness and complexity of each ‘ present’ moment and dances with the question: How to create meaning?

The Book of points 1 can be purchased. If you would like to have a copy, let me know: mariakefirova@gmial.com.

And this is the video alternative:

MANUAL FOR MEASURING DISTANCE

Manual for measuring distance came as a secondary effect of my choreographic process, inquiring into distance, proximity, and their limits as generative technique for new forms of content and structure.

The work addresses the body of the reader and the body of the space. It tries to measure and recompose those bodies; it searches to open space for the enfolding of asymmetries of presence and attention.

While making the Manual, I realized that for me to ‘measure’ means to ‘know better’ and make alive the measured thing or space. 

The work composes with the superposition and  accumulation of different  view points, points of contact, and points of reference. It  tries to document but instead makes poetry out of the practices through which I developed two performance pieces: measuring distance  and backs.boxes.towels (Dance cure). 

Manual for measuring distance

A class that guides the unfolding of a series of extraordinary physical states.

Hanako – Hoshimi Caines and I propose a series of  extraordinary physical states. We create an environment of few spoken words in order to access the space/sense that happens when you are allowed to be without language articulating your experience. Projected indications guide the unfolding of activities in a few simple sentences. They get us sweating, dancing, jumping and stretching for long enough that we enter into that space without worrying or needing to be good in a particular way. The repetition and duration of movements provokes the feeling of synchronicity between the inside and outside and avoids the need to produce an individual creativity. We access fun, adrenaline, concentration, absurdity, pacing, height and transcendence, we practice synchronicity and non synchronicity, repetition, accumulation, listening to feel good music, making space for extraordinary states and sinking in the extraordinary of the ordinary.