Marc Antoine Serra

Spinning, turning, swirling

Your title suggests something narrative, is there a story at the base of your performance?

It's more like thinking for a moment. A kind of outcome. If you were to rub through my work, past all those sculptures and sculptures, I am now there at the end, spinning with two others. Not really connected, but not separate either. This simplicity - not one prop, no material trick - is quite exceptional for me.

For me, this spinning is being at rest, being in your own world. I need a break: what is my work at a standstill? What is my life, where does it go? Who are you, what do you stand for?

Ghost Writer And the Broken Hand Break is in fact like a whirlabout that is thrown out of my work and takes its course. Turns out that...

- Suspended resolution Like an eyelash in my cocktail I was born in the shadow of my future self Like an eyelash in my cocktail

Suspended in a flight of escape Like an eyelash in my cocktail Whose pedal is in my head Like an eyelash in my cocktail

Round the sweat Like an eyelash in my cocktail Round the handrail Like an eyelash in my cocktail

Falling high Like an eyelash in my cocktail Swinging in desire Like an eyelash in my cocktail

Falling through Like an eyelash in my cocktail I feel unwired Like an eyelash in my cocktail

In the middle of night The middle of the middle Like an eyelash in my cocktail In the middle of night The middle of the middle Like an eyelash in my cocktail

So your work at a standstill is in fact a sustained concentric movement. Your mind at rest remains a whirlwind?

The 'now' means nothing, right. You look at a sequence of now, now, now, now, now, now - until you get some kind of overview. From this, you construct your memory. In the chaos, you keep searching for the middle axis. With big questions, but at the same time like a dog chasing its own tail and biting it. The restlessness in your head and your body and your world is permanent, you just have to chill in the fact that nothing is fixed. And this is exactly is the essence of the whole whirling technique. That's life, basically.


- Like a house without a door Or a pimp without a whore Like a bird without wings Or a voice that never sings Like a junk without drugs Or a soldier without guns Like a child without a mother Or a sister without brother
I’m a wall without door I’m a winner without score I'm running in slow motion I'm an oily oily lotion Playing football without feet Like a hand without a finger Melting ice cube in the heat Or a gun without a trigger
Absolute Relativisation Relative relative Absolution
The ending of eternity Border in infinity A mirror without reflection A talk without connection A soap without an actor A sun cream without factor A desert without oasis An army without basis

So the whirling technique is nothing more than a thought?

Your head and body just have to become one with the space that revolves around you. Your head is used to fixed frames, as soon as they disappear, your own head can mow you down. Brain must learn. Caress your brain, everything is fine. You just go: from standing to spinning, from looking at to staring, from breathing to singing.

In fact, when we are spinning, we literally can't see what's happening around us. We are blind in your midst, who are looking at us. We can't see any danger coming. We are open, now. That specific mode of being there can only exist within these walls.

When we stop spinning, we use our hand to come back to where you are. Your hand is the fixed frame you always cary with you. Your hand is your brake. It's you.

- Well, Take your moment Where are you now Everybody is watching We are all around This could be a remedy We can't see an approaching enemy Our body is an arrow Pointing at the inside

You say 'this is an outcome', is it an end point?

Yes, at least for the musical aspect that has crept into my work. That was never there before. With this performance, we throw it all out, to make room for something new.

How did that music enter your work?

I'm always looking for material that I'm not used to, to express something with. How can I make it more dynamic? How can you shake an existing thing and then discard it again, throw it out according to your own logic? In “Mystery Magnet” there was the investigation into painting. In my solo work it were plaster sculptures. In “Fruits of Labor” it was music and (spinning) movement. So great, when you're working with images and suddenly music creeps in... something that goes straight to your soul. I decided I wanted live music, but without hiding the musicians, as so often happens in theatre. If we were to do music, we were really gonna do music. So in this way, the performance has brought itself somewhere else. It makes no sense for me be the slave of an idea and to continue in a cramped energy. So I let go of the turning. But it was stuck in my head. That's where “Ghost Writer and the Broken Hand Break“ came from.

- I am a message in a bottle Oil and numbers, all in water Latex spirals, slips and slaps Spilling lies and silent claps
And in the middle of the word I slip and fall Besides the world
So what’s that word, what's that word? To which I fall Besides the world
I am a message in a bottle Spilling ripples in your pocket Floating freely in a spiral I belong like a song to vinyl
To the moment of transition, zero chance and hard decision But in the middle of the word I slip and fall Besides the world (besides the point)
So what’s that word, what's that word? To which I fall Besides the world
And when your cigarette is out I feel so lighter Like without Like without Limits are your revelations in infinity of spaces

'Ghost Writer', the title says, so who's writing here?

In the performance we mix-up texts by me and Raimundas – a very good visual art writer with whom I worked in Marseille. But, yes, who is it that writes your story? People say 'Everyone writes their own story', but that’s not true. Even if you want to write your own story, if the world doesn't cooperate, you can't control it. Things just happen to you.
This thought automatically brought along the Broken Hand Break. As a human being, you just have to 'go' – you just deal with what comes your way. So I didn’t mean it in a wild way, but rather intimately. Like I did with “Fruits of Labor”, actually I was just making a ritual for the world to have a moment to laugh at terrorism, something like that. It's wholesome.

- Break the hand break Roll the wheels Use them as a jacket And hit the wall
Roll on I do look forward I love the past Now sucks when you pull a death end And there’s no ball to roll on

The whirling dance also has a sacred connotation.

Yes, but we are more interested in profanity. Rather than reaching for something that transcends us, we want to pull things to the ground. That whirling is a state of being that also exists when we are not physically doing it, you know? I would have liked us to even be able to drink something while doing it. It's like throwing 100,000 litres of paint on a stage. Is that beautiful? No, but the underlying energy makes the audience get a sense of freedom. I think everything revolves around the attitude with which something happens, with which you pick up something and put it down somewhere else.

- I can see The fear in your tail I m looking at your happy eyes
You waggle to see me Even if you think You hate me You hate me
If we ever give your tail back I would see you lying I would know You love me You love me
We would know better Know better the bottom lines Of our thoughts And Stroke it down Stroke it down

Interview by Tineke De Meyer

MIET WARLOP / NTGENT - Ghost Writer and the Broken Hand Break - 30/09 t/m 15.11

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