What happens if a dance performance, instead of being an object of language, is constructed as an experience? How many times, when attending a dance performance, do we wish we could intervene? How many times would boredom, often brought about by the loss of meaning, drive us to leave the hall, or at least to express our dissent? And how often in seeing movement, would we want to dance, to ‘feel’ what is being proposed? The aesthetics wink at the cult film A Clockwork Orange. The orange, the milk, the white, the sadomasochistic relationship of the artist with the spectacular system and with the spectators, form the background to the unfolding of the experiments.
