Neue Luxury is a global dialogue on luxury in the 21st century.

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Phillip Adams BalletLab is a company defined by collaboration, not because its collaborators make the work, but because the collaboration is the work. It is a site for expression and experimentation, for the unheard and the unspeakable. The company’s practice enacts a dialogue between artists, ideas, research, sound, movement, fashion and architecture. A constant process which has no beginning and no end.
  
Fittingly no single voice, phrase, or text would be adequate for discussing Phillip Adams BalletLab. To be part of the process one needs to join the conversation. Seeking out perspectives from artistic director Phillip Adams, composer Garth Paine, designer Susan Dimasi and architect Beth Weinstein, each offered an insight into their collaborative utopia; a working space that spans from the Arizona desert to the dance studio.

PHILLIP ADAMS

Whenever words are unable to express our innermost feelings, the body takes over. For me, dance is sustainable because it accesses the sensuous and corporeal. This is an approach to the world that I think is neglected in day-to-day life, which is filled with images and language rather than touch and movement. Moreover, dance can be regarded as a successful model for global action. Dance is created through international networking, mobile protagonists and flexible production methods. Collective movements possess a political potential, a force that can shape society. My practice is often categorised as ‘other’, an assumption that I’m quite comfortable with, as it allows the utopian potential of dance to be put up for discussion.  

I choreograph and present dancers in extreme states, standing on the fringe. I experiment with ideas of hysteria, alienation, and empathy. The luxury of this experiment is the notion of collaboration. Dance is inherently interdisciplinary and transcultural. It’s an art form that allows an artistic mode of research, one where the disciplines of dance, music, and science work together to pursue a social and artistic phenomenon. In my choreography, ritual is merged with synchronized fictional accidents and folkloric encounters. This is the utopian ideal, one of the uncanny and the experimental. With Phillip Adams BalletLab, I seek new kinds of participation, to create a space where alternative aesthetic strategies can be tested and fucked with. At the core of this pursuit is always my definition of choreography: choreography is a preoccupation with exploring the organisation of the body in space, and how its architecture is shared with others. From this definition I suggest a narrative striptease, one that tantalises audiences with a promise of access.  

The luxury of this experiment is the notion of collaboration. Dance is inherently interdisciplinary and transcultural. It’s an art form that allows an artistic mode of research, one where the disciplines of dance, music, and science work together to pursue a social and artistic phenomenon.

Most often I struggle to conform. I have my own set of rules and they are continually being broken and this is a luxury unto itself. Phillip Adams BalletLab constantly reworks recipes for art that mix the old with the new and experiment to deliver an experience rather than a common offering. Most of the time my work is trying to articulate the inexpressible, and this unknown language is experienced as an elegant eruption of avant-garde expression. Where this creative trigger point finds release is in the studio. I consider the studio to be a holy place for choreographic practice. I, along with the dancers and collaborators, discover things about each other as well as about our creative expression. Working together we are a library full of spines (excuse the pun), with titles that provide our audience with visions of the everyday and tomorrow. We offer our understanding of dance up for debate to our audience, as much as we do to our dancers in the studio.

GARTH PAINE

The final piece of the jigsaw in my collaboration with Phillip Adams BalletLab was to travel to a structure in the desert in Arizona. This structure is called the Integratron and was built by a man who claimed to have been abducted by aliens. According to him, aliens taught him how to build a machine to rejuvenate living human tissue and sent him back to earth to build it. The Integratron is this machine. He died before he finished it so unfortunately there’s no eternal life yet, but this theory and history is why we went there together.

We put loud speakers all the way around the building and then played white noise through them, effectively creating an even white noise field inside the building. Then Phillip danced and moved through that field and I put a special microphone in the centre that records a 360 degree sphere of sound. The idea is that what I recorded and then played back into the loud speakers is a shadow in the noise field of where his body was. When I recreate that back into the loudspeaker during the performance work, what the audience should perceive right at the end is that there’s still movement going on around them but the dancers have all vanished.  

It’s absolutely critical to have an organic element in my compositions, otherwise electronic sound feels very abstract and detached from human experience. What we are making together is about heightening and accentuating human experience. Giving us an anchor to reflect upon things, about the way we construct our lives and the relationship to our environment.   

The reason I work in a studio with the dancers, is that in the past I approached composing music for dance by going to the studio seeing runs, and then going away, composing and bringing what I’ve created back. But it doesn’t matter how much effort you put into it, doing it this way is always just bringing two separate elements together. The outcome is really tightly bound and hopefully you can perceive this when you see it. One couldn’t exist without the other, they are in conversation all the time.

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