“In the Blind Spot” takes the notion of letting go as its starting point and leads the body to the edge of collapse and utter surrendering. It strives to transform the supposed weakness of the spent body into something positive and celebrate it as the refusal of the achievement imperative, the fullness of its fragility revealing the unseen location of the non-resistant resistance. “In the Blind Spot” expounds a very physical movement language, extracting the usual limits of identity and (self) assertion by its very softness. With limitless non-aggression it reveals and provokes simultaneously. The project radically puts the singular body as the centre piece. As if under a magnifying glass, hidden insides are brought to light.

The performance “In the Blind Spot” belongs to the “Blind Spotting Performance Series” launched in 2014 by Margrét Sara Guðjónsdóttir. It is simultaneously the a commissioned first part of Angela Schubot’s 2015 solo trilogy “Körper ohne Macht” (Powerless Bodies).

The Blind Spotting Performance Series

“In the Blind Spot” takes the notion of letting go as its starting point and leads the body to the edge of collapse and utter surrendering. It strives to transform the supposed weakness of the spent body into something positive and celebrate it as the refusal of the achievement imperative, the fullness of its fragility revealing the unseen location of the non-resistant resistance. “In the Blind Spot” expounds a very physical movement language, extracting the usual limits of identity and (self) assertion by its very softness. With limitless non-aggression it reveals and provokes simultaneously. The project radically puts the singular body as the centre piece. As if under a magnifying glass, hidden insides are brought to light.

The performance “In the Blind Spot” belongs to the “Blind Spotting Performance Series” launched in 2014 by Margrét Sara Guðjónsdóttir. It is simultaneously the a commissioned first part of Angela Schubot’s 2015 solo trilogy “Körper ohne Macht” (Powerless Bodies).