“It seems that a body that can really speak today is not just aesthetically but biologically different from bodies that danced even just 20 years ago. Pausing, scrubbing, superimposing, fronting identities, multiple hits, liquid fluidity and articulate fragments ... the dancer Storyboard P for example.”
Some words about my friend and collaborator Adam Linder: the economy of language and even something as linguistically ambiguous as a moving body is central to his practice. See Auto Ficto Reflexo (2015), a game for two performers in which the language that surrounds art production – criticism, production instructions, gossip – is repurposed to produce danced action. “Of particular interest to me”, Linder explains, “is the meeting of the critical, the supposedly objective or rational, with the expressive”. If there should be failures in translation in this encounter, it is not the only act of translation in his work. Having danced with the Royal Ballet of London and Michael Clark, and recently released a trillwave rap album as Lyndy Sterl, Linder possesses a virtuoso bodily and verbal dexterity. His crossover from dance into art sees the application of these skills in a space that, since the 1960s, has embraced “de-skilling” and “pedestrianism” as democratising challenges to technique and authorship. Linder’s performers, which usually include himself, are always already commodities. His series of Choreographic Services (2013-ongoing) place a contractual hourly rate on performance in the gallery, thus inquiring what value is placed on the real-time production of artistic labour. Between dance and art, Linder’s work provides a compelling position from which to explore the vexed issue of choreography-as-exhibition – a peculiar reliquary of presence and authenticity.
Jonathan P. Watts
Some Proximity (2014)
Auto Ficto Reflexo (2015)
Some Riding (2015)
SERVICE No. 4 (2016)
Untitled: No Freakin'Escape (2016)
Adam Linder works predominantly with the medium of dance, making both theatre pieces and providing Choreographic Services. Linder’s works have been presented in theatres such as HAU Hebbel am Ufer in Berlin (2013 to present), American Realness in New York (2014) and Kampnagel in Hamburg (2013) as well as in spaces typically devoted to visual art, such as the Institute for Contemporary Art, London (2015), the Museum of Modern Art in Warsaw (2015), the Museum of Contemporary Art, Los Angeles (2015) and Kunsthalle Basel (2014). He has worked with choreographers, dance companies, and visual artists including Shahryar Nashat, Michael Clark, Meg Stuart/Damaged Goods and The Royal Ballet. In 2016, Linder will participate in the 20th Sydney Biennial and the Liverpool Biennial.