Academic Intimacy

Süddeutsche Zeitung, 27.01.2018 // Author: Rita Argauer

(…) She already avoids the trap of a badly acted togetherness in the piece’s structural approach. By calling it a “session”, she shifted the focus away from a finished performance; instead, she places the creation process in the foreground. (…) Anna Konjetzky included some of these Brechtian distancing tricks in her piece; it makes the audience fluctuate between declared reality and exhibited artificiality. It works very well when the dancers are already rather advanced in the way they reveal their sex movements – but their bodies are equipped with contact microphones and thus turn into pure sampling pads. Rubbing the butt and a beat resounds. A hit on the chest, the beat stops. By rubbing a leg, electronic crackles are emitted and the dancers’ bodies basically turn into masturbating cyborgs. (…)

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