My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
Christos Linou Choreographer / performer / filmmaker
The Naked Ambassadors
Dance on film
This work explores the duality of the naked and the nude.
It questions perceptions of masculinity as a way to examine each other’s body image and identity behind its garmented veil.
The concept references humanity continuously at a crossroad and suspended at in-between states of provocation and change, from the historical, the current and the foreseeable.
It queries the 1533 painting by Hans Holbein titled ‘The Ambassadors,’ where the painting denounces morality, religion, reason and ethics for advancement of philosophy, science and technology.
The choreography is shaped for film to combine Holbein’s painting, which superimposes the performers in and out of the image to link the historical with the contemporary.
Two men remove their clothing and come together in an-interplay of trust and support, to explore the naked body, identity and gender. The duality of nude male is explored when the men cross-dress into each other’s clothing in an attempt to understand the other’s intimacy and desires, leading to an image of masculine abstraction.
The work acts as a metaphor for humanities continuous search for identity and reason. Regardless of what ideologies or technological breakthroughs advance human intelligence, we are constantly naked and in the dark.
"On the upstairs hall's wooden floor in silver letters, capitalised, ARE YOU NAKED OR NUDE?
The film screens on the wall with Christos and Nick framed in separate doorways."
"Christos and Nick take the painting as cue to deconstruct the notions of identity and its corollaries by undressing completely, embracing, swapping garments until both are clothed again in the other's. Their dance is minimalist, and synchronised; but within the constraints of their frames."
"I look forward to more from this clever and witty creator."
Review by Peter Green. The Melbourne Observer. Wednesday, February 19, 2020 - Page 43
