PUC COLLECTIVE ABOUT
PUC collective was founded in 2017 by the artists* Anna Possarnig and Maria Shurkhal in collaboration with composer Amir A. Ahmadi. Since its debut piece Bauhaus Tanzt (I.) – which focused on the alliance of contemporary music, dance and design –
PUC became a platform for transmitting/communicating/presenting interdisciplinary art.
The company is based in Vienna, Austria, and functions under Verein Studio Fugu.
PUC was selected to be a part of Huggy Bears Mentoring Program in 2020. (Season 2020/21)
Our research work at Huggy Bears
The general topic of our research for this year and the upcoming production evolves around the concept of subjectivity and the autonomy/dependency/inter-dependency it stimulates between the one and the other (subject, object, space, world, etc.). In terms of theory, we follow the line of Foucault regarding the ‘subject- power’ relation, the writing of Bojana Kunts on the productionof subjectivity, and Briginshaw’s research on subjectivity and space.
Our interest in this topic is motivated by the idea that subjectivity is at the core of production in contemporary capitalism. We constantly look for ways to use, transform, generate, or how Bojana Kunst coined it, “radically consume” the forces of subjectivity for production purposes. Atthe same time, the performance field is often expected to be critical, social, even political, somehow relevant to contemporary life. Hence arise the problem:
How is it possible to use the potential of our own subjectivity for creative purposes and be critical to the system when the instrument that we use is the product of that same system? Foucault writes that his objective “has been to create a history of the different modes by which, in our culture, human beings are made subjects.” In some ways, our research takes place very close to this statement, aiming to de-construct different modes by which dancers/performers aremade subjects, and what does this mean in current (contemporary) condition. For example, confession in performance - as a public utterance of own truth is one of these modes that appear as an act of own singularity, individualization, liberty however it might result in “the mechanism of subordination and part of the flexible subjectivization enabled by contemporary society” (Kunst). So, with an example of this mode, we would look at the body and movement as a medium of a potential non - verbal confession, where dancers are urged to articulate the private into the public. Through this act, we attempt to trace a possible transformation, either in terms of self-governance or self-liberation. Following the research, we aim to create a full evening piece with 3 dancers, one opera singer, and mixed music composition of live and instrumental (violoncello, recorder) inputs.
We look for a non-narrative structure that should appear as visual poetry, slightly disturbing but also entertaining, revealing the sides of the complexity to our freedom in a transparent and relatable way.
Other than that
We work on a project with a social aspect which we hope to show at Ankersaal in January. Herewe focus on the human senses as faculties of perceiving art. We observed that many people fear going to the theater/museum/gallery because of the inability of understanding what they see. In response to that, we decided to create a project where we show that cognition is not the only way to approach art, nor the most important one. Here we work in smaller groups on different senses, also engaging youth and children of Superar and Tanz die Toleranz. Our goal is to create a strategy or a score of the prepared elements. Eventually, the evening itself will be a sort of collage with dance, instrumental and electronic music, video, and projections.