Quim Bigas Bassart

About Quim Bigas Bassart

Quim Bigas Bassart (1984) was born in Barcelona, Spain. Artist, creator/choreographer and performer. Since 2007 combines performing for other people, collaborations and his own work. His interest in dance lies in performing, creating and creative encounters, as well as movement research, social interactions and information procedures. He is also interested in finding connections between theory and practice, by questioning subjects that relates to performing/performativity, process and the protocols of the theater space. He use sources that comes from Popular Culture, Performative and Theater Essays, Sociology and Information Science. Quim Bigas currently lives between Copenhagen and Barcelona where he works in his own work, as well as collaborating with different choreographers.

Quim Bigas Bassart #1

Often, people ask me What is choreography. Often, I think whichever person who thinks has an answer it’s an asshole. A nice asshole though.

To compress the meaning of words into specific behaviour or form is to constraint it’s potentiality and the reality which implies to it. Nevertheless, might be important to have meanings in order to have a common ground where to speak from. But…

Wait!

Hold on!

Words (keyboard, screen, letters…), and precisely concepts or ideas (keyboard, screen, letters…), are inviting us to play with them, to mess up with them, to fuck with them or to make love to them. That’s why CHOREOGRAPHY could be called GENIOUS for the same purposes, dancing could be windowing or walking could be candling. By that, we might not window and candle but we might open up the sphere or what it contains.

A friend told me that everything around us is seeking for existence. That’s why things has names. Otherwise, they do not exist. Once I have realised about it, I’ve started wondering on the wor(l)ds I know, the wor(l)ds I don’t know, the wor(l)ds I use, the wor(l)ds I could invent and so on. Such a simple thought brought me to realize the complexity and the standards of where I live. First of all, I’m not a native English speaker (I think that’s pretty obvious on my writing) and my vocabulary it’s already limited. Having said that, I can’t give existence to many things when I write in English. Secondly, it’s already vox populi that we only use a little little mini percentage of the vocabulary that our language has. Thirdly, I have being educated to talk mainly about myself and my writing contains a lot of the first person of the singular. Blablablablabla… Which allowance we are giving to reality? Which is the existence we are giving to things and which logics brings us to name certain things? What do we talk about? How?

Choreography might not be a very common word in public sphere even though it is a word that I use very often. Choreography might be a very abstract idea for many people. Choreography might not imply the creation of a world. Choreography might not be part of the reality of many people.

It would be fun, then, do physics instead of choreography. And choreography instead of cooking. Choreograph instead of writing or writing instead of choreography.  Because, it is whatever. Whichever word is whatever. Choreography is whatever and, then, is a context where things happen and a platform where to speak from. Like other wor(l)ds.

The longer there is an standardisation of vocabulary the more we will look for other ways of calling things. Then, we might be more specific with the ways we communicate, the naming of our practices, the way we live, share and potatoes.

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APPRAISERS.

An appraiser (from Latin appretiare, to value), is one who sets a value upon property, real or personal (Wikipedia]

The project APPRAISERS explores the ramification of formats, concepts and methodologies that deal with information and data in the present using different modes of producing. It is a choreographic practice that is relevant and applicable to many fields. Through the development of skills and rules it aims to make visible the existence of presence as well as empowering the idea that we are “makers of our own reality” [1](Watzlawick, 1995).

Through the new information era we have gained the capacity of being prosumers.[2] So far presence as a concept is in continuous dialogue between our producing body and our environment; dealing with the capacity of staying and being able to inform yourself amongst the context that you inhabit. Due to the existence of many emerging technologies and devices that facilitates a diverse approach towards embodying presence, “just” being here-now is becoming more complex than ever. The compulsive desire and presumption to share information and experiences via social media platforms has become a routine part of daily life. The eye then becomes a filter, a discerner of what is of value. These new behavior affect our capacity to observe, behave, understand and experience. This domestication[3] of social media provides an easy di-attachment towards the physical places we inhabit.

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The aim of the project is to keep investing in formats, ways of sharing the same idea and elicit questions that bring into focus relevant points regarding the process of making, labor, consumption and labelling. Even though this seems a broad aim, it is in fact very specific. The project concentrates on “the information that is already here”; precisely and responsibly focusing and mediating “what is already here” through our gaze to create an engrossment out of what is concrete. The work done opens up the senses by the simplicity of this task. By engagement of both outsider and/or insider, the work stimulates, becomes shareable and a dialogue develops with an inherent potential to expand.

I am curious to deepen my understanding around “value” (For example, the selection of information) and the project will explore, through disseminative platforms, the encouragement of the active and conscious witness of the contexts in which we find ourselves. In performance, the imperative is to inform, deliver, facilitate and generate certain content to an outsider. The theatre space is expected to create fictional realities. I am interested in give existence to the solid spaces we inhabit.

The principal core of the work in terms of reference and field of studies comes mainly from Documentation, Theories of Communication and Perception studies. I’m interested in topics such as big data, data presentation, data analysis, tacit knowledge, explicit knowledge and archive. Theories of communication, such as Constructivism; Social Constructionism; Cultural Studies; among other disciplines, are favorable to reflect on how do we actually communicate, share and give meanings to the places we occupy. Furthermore, studies on Perception, such as works by Brian Massumi and Alva Noë, are pertinent for deepening knowledge on how eye activity works and affects the motor-skills and functions of our body. These fields will inform one another in order to broaden the content and the practicalities of the work.

Regarding physical strategies, I’m interested in working inside the realm of movement practice. Specifically on the creation of structures, rules and assignments, that deals with the central theme and stimulates discussion, create consensus and agreements. The practice is mainly focus on three main activity procedures: movement, naming and writing. Each of them intends to apply the same logics into different formats as well as enhance the Universe that can be created inside one idea.

The charm of this proposal is its capacity to be adapted to different contexts. I am particularly interested in its relevance to dramaturgy and long to invest in approaches and methods coming from other artistic fields and how these can intensify the dramaturgical process within performance arts. At the same time, I am willing to analyze the appropriation of information.

Finally, APPRAISERS is an approach and platform which seeks collaboration with others as well as being a stand-alone work in itself.

 

[1] “That we do not discover reality but rather invent it is quite shocking for many people. And the shocking part about it — according to the concept of radical constructivism — is that the only thing we can ever know about the real reality (if it even exists) is what it is not. It is only with the collapse of our constructions of reality that we first discover that the world is not the way we imagine.” Paul Watzlawick, “On the Nonsense of Sense and the Sense of Nonsense,” 1995

[2] Blend of producer and consumer, coined by futurologist Alvin Toffler in his book The Third Wave (1980). Concept based on suggestion by Marshall McLuhan and Barrington Nevitt in their 1972 book Take Today (p. 4) that consumers would take on producer roles in mass customization. (Wiktionary)

[3] “An approach in science and technology studies and media studies that describes the processes by which innovations, especially new technology is ‘tamed’ or appropriated by its users. First, technologies are integrated into everyday life and adapted to daily practices. Secondly, the user and its environment change and adapt accordingly. Thirdly, these adaptations feedback into innovation processes in industry, shaping the next generation of technologies and services. The theory was initially developed to help understand the adoption and use of new media technologies by households. (Wiki)

 

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