Alexandra Pirici nackt sorted by

relevance

She choreographs ongoing actions, performative monuments and performative environments that fuse dance, sculpture, spoken word and music.

, I pass a Vietnamese restaurant playing the very same Depeche Mode song.

The replication of David looks as if the performers are adjusting their epaulettes; the Mona Lisa arm position, executed separately from the smile, feels like an awkward pose.

Feel-good cultural criticism has its limits.

Canonization in cultural history, one might surmise, has to do with simplification.

What best reflects the emerging ideologies of our age? Parents, you can easily block access to this site.

This alone reflects an interesting development in swarm aesthetics.

Alexandra Pirici, Aggregate, 2017, exhibition view, Neuer Berliner Kunstverein.

Her works have been exhibited internationally at venues including Tate Modern, London; New Museum, New York; Centre Pompidou, Paris; Museum Ludwig, Cologne; the Van Abbemuseum, Eindhoven; Russian Museum, St.

The longer I smile back, the harder we both find it to control our expressions.

Browse through and select content online at and at KW counter desk.

But how does such reductionist cultural Darwinism relate to the collective body? As a semi-permeable fabric grouped around the audience, the swarm has come into its own: the principle of equality of professionals and non-professionals in postmodern dance as a post-material event.