We live in a mediatized world of wild conspiracy theories, looming ecological crisis, damaging narratives, where ironic + nihilistic viral #influenza images appear simultaneously on non-machine devices. In parallel with the degradation of the physical environment, a toxic cloud of digital images rolls from the screens.
?How is pixelated information captured in the network of an organic body? What stage (a)effects does working with incoherent content produce on the internet? What in the web of images is actually r E s N I S n 0?
In response to the oculocentric Organization of the world, hybrid stage work adds materiality to sticky digital images and processes them —\_( bodily )_/—. It combines movement, video, Object work, and audio and logic of the internet *with irony* into physical space............... the relationship between body and images opens up virtual spaces of interplay; /between organic /imaginary and digital /between memetic garbage /between atmosphere /affect and feeling //at the intersection of experience, illusion, Premonition and fact. Between the past, the many present and – not apparent, but tangible - > the future.
Jan Rozman (1991) is a dancer, performer and improviser who works between Ljubljana and Berlin. He is active in the independent dance scene, where he collaborates with established dancers and choreographers and develops his author's work, which is characterized by the interweaving of various elements (dance, theater, scenography, music) and humor. In his artistic practice, he deals with the expanded notion of corporeality, material semiotics, textures, gaps, errors and confusion, ecology, imagination, (science) fiction and humor. She focuses her work on the research and articulation of relevant performing expressions for the post-internet/Anthropocene period.