Club subculture caught their attention when they stumbled across the interface between techno-productions and the temporary area, which appeared to be a semi-rigid body that was still able to lose its "structural engineering“ into a chaotic texture. Depending on constant realignment of the place through collective decision making, the architectural boundaries of said area are rendered variable. The raw sequencing appears to be aimed at creating a temporary, standardized landscape so that the intelligence that interacts with this sequence can explore the emotionality within the abstract collective by making a gesture into the unknown conversation. A laboratory of the self. The parading of the clock. Swarm vibration against measurement. The 9 2 5 career, but different. The balance that life is not as terribly exciting as we would like it to be. Theatre.
Their work extracts details from this exciting stress by understanding them as signals - whatever materiality they embody - and combining them into new tracks. These focus both on circular strategies for the collective narration of a situation and on questioning the impulse that has to be anonymized in order to create the situational emptiness into which the swarm can project its body state. Their threads show a technological schizophrenia of fragmented memories of a sub-society that updates itself with signals from a step-sequence in which the interchangeability of time dimensions enables the individual to achieve a simulated liberation through body language. It is considered that these spatial qualities of exploration must manifest themselves in a binary contrast to a variety of other social realities and therefor must be united in a temporary social contract that defines time as a contemporary product of the individual instead of a resource that measures and speculates. Said binary contrast is not intended to become another -ism in the world of exclusion, but rather a simulation of the intersectional exchange of experiences and collective learning processes, which enables the individual to compare existing toxic social realities with the results of the simulated experiences - as derivatives of non-places and transit areas - to undermine reality with a variety of public domain proposals, with the intention of freeing habitats from the categorizations imposed on them by language systems; and for global society to gain a new understanding of planet earth as a home.
Jan Vahl (*1989) is an artist and researcher working on the interface of counterculture and its threshold for establishing in subculture. With their backgrounds in agriculture, jūdō, equestrian vaulting, tailoring, music production and stage design they approach their plays from different perspectives.
Jan is currently part of the Dirty Art Department at Sandberg Instituut, Amsterdam, NL