1161 is what GC 161 * and T 1000 ** adds up, or melts down to. A puddle of naivety and violence, somewhere between teenage girl and calculated villain. Neither good nor evil, it assumes all forms in order to become formless.

*the name of the mysterious chemical substance that Alex Mack gets doused in, resulting in her developing powers which include melting into a puddle
**the name of the melting, liquid nitrogen villain in Terminator 2

1161 proposes dance as the ultimate metaphor for the contemporary world. Just as Madonna’s ‘Material Girl’ is as outdated as the eighties, perhaps the ultimate contemporary figure would be more like ‘immaterial girl’. The world exists more and more in a state of fluidity or stream rather than solidity – soundcloud music streaming rather than buying cds/records, streamable netflix rather than tv programming, air bnb rather than property, amazon rather than shops, snapchat rather than photo albums, bitcoin rather than cash, and art events rather than art objects. Reality is not fixed but rather flows. The world is coming to resemble the immaterialness of dance more and more.
1161 approaches dance as an entity which is formless and flows through the world with or without us, but that achieves ‘form’ by using a body (of a dancer, or otherwise). Perhaps like a ghost that occupies or possesses a person’s body in order to achieve some task or action in the material world, or like a radio frequency that is always available but only audible when the radio is tuned in. 1161 proposes form as a way into formlessness – and so follows the philosophy of Bruce Lee, mastering all forms in order to become formless, “like water, my friend”; being able to flow around an opponent, through form, and alongside time and space.
1161 deals with the horror of formlessness, something that is always lurking, that can be felt but not seen, and something that cannot be controlled, but also gives itself up to the pleasure of transformation.

Initial experiments for 1161 were performed in a 2 hour performance, for Free Fall at Oxford Art Factory 15 – 16 July 2016, curated by Anna May Kirk, further development to come late 2016.

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Images by Matt Cornell