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
contemporary dance
fiddle de die
40min: one man show
bodyworks festival. dancehouse. melbourne. 1998
salamanca arts centre hobart. 1998
carnivale festival. sydney. 1999
sala festival. adelaide. 2009
alive dance festival. dancehouse. melbourne. 2012
Dedicated to Jack Linou: 1964 - 1997
Fiddle De Die was made in 1998, year after my brother Jack died and I wanted to make a work about the maelstrom of drug addiction and the HIV virus.
The one man show was choreographed as a performative installation and used an array of objects as metaphors suggesting a dark struggle and search for revitalization. The materials included, Greek incense, which infused the space with an aroma that became overpowering, 100 ping pong balls, a 6mt ladder, a red bucket filled with fluids and surgical gloves, a whip, a sheep's mask, a hangman's rope, a suspended child's chair and hundreds of five cent coins.
I synchronized film projections that were made on Super 8 film, which depicted my body in motions of static hovering enhancing the live choreography. The film made for the performance was screen independently at various experimental film festivals in Adelaide, Melbourne, Sydney and Darwin.
The work was awarded with best experimental work at the Mixed Metaphor season at Dancehouse and I went onto touring it to Hobart, Adelaide and Sydney and it was re-staged for the 20th Anniversary Season of Choreographers at Dancehouse in 2012.
"Christos Linou, in his restaging of a mash-up of Fiddle De Die -
provided a high energy, absurdist contribution that gave a good idea
of the breadth of work encompassed by Dancehouse. There's mania,
there's song, there's drug/sexual/religious references, there's excess of all kinds."
Susan Bendall. Alive! 20 Years - 20 Choreographers Dancehouse Anniversary season.
Dance Australia. June, 2012.
Photo's 1998 - 2012 © by Lucia Rossi & Janet Williams.
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