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
Other works...
2019 - 2011
Ktistis
Dedicated to my father, Andreas Linou.
Who died in Australia on the 29th November.
The night before my performance when I was in Amsterdam.
bricklayer
2019...
Club Church. Amsterdam
10pm - 1am.
30 November 2019.
This work represents my methods to overcome grieving and loss.
I re-created a builders worksite with objects associated to my father's occupation and used materials such as, panels, beer creates and buckets for scaffolding and construction tools to build a set design during the clubs opening hours.
This was intentional to suggest a site under-construction, where risk, uncertainty and confusion come together during the performance. .
At one point the owner of the venue, Richard Keldoulis stormed the stage and ordered me to STOP the performance and said,
"Your swinging the hammer from your hair, dancing on crates and things are collapsing all around you, its too dangerous."
Photo by Richard Keldoulis © 2011
I reassured him that it was all planned in the choreography and that I fell backwards intentionally, to re-create the moment when my father fell off a 3mt high scaffolding.
In order to make the work flow and not have my performance stopped. I involved Richard into the work, to slip back into a fluid performance.
The public celebrated in the newly built stage and participated in its design.
Photo's 2019 © by Richard Keldoulis
Object Obedience
Three-hour performance installation.
2019...
Map Festival. Site-works.
January. Melbourne
Photo's 2019 © by Bruce Murrihy
The choreography was determined by the obedience to objects, in that when a panel was moved or fell, so did my body.
The dance was shaped by a series of constructions, which collapsed and were rebuilt over the course of the work.
I performed with everyday objects and re-arranged them over time to suit the choreographed shapes and actions when in connection to a particular object. A table, panels, boxes and boards fell and shifted and the body to move within these parameters.
The actions were shaped by geometrical patterns and lines which are composed into simple structural forms of squares and rectangles, which wass influenced by painter Peit Mondrian’s ‘Compositional Series.’ It implied a working class struggle of an unrelenting task of rebuilding.
2018...
Durational Dancehall
4 day workshop. Melbourne.
This public workshop was a practical approach to shape new ideas experimenting without having concrete conclusions.
It explored how creative practice can be re-interpreted where concepts and theories take hold over, leading
to a deeper investigation in the process and making of art.
The process examined the body in abstracted situations to explore complex theories for uncomplicated development.
The studio represents the ability to make without hesitation, for understanding how to create without the pressures of producing.
It researched the ontology of body and object, to explore the transference of micro-movements to inquire about momentary forces that trigger actions. It explored automatic orientation and nominalism, methods of free association to objects and improvisation to to reinterpret body and space.
2016...
Strapped Toxins
Four-hour performance: 12- 4pm.
Testing Ground. Tilde Music Festival. January. Melbourne
Strapped Toxins was based on how the body absorbs and expels toxins through words, hence the cocooning of my body
with tape, was to gag my negative opinions, and detoxifying my mind and body.
The work was performed under a hot 40 degrees, which meant the four hours of strapped inside sticky tape expelled more than just fluids from my body. The final act of the performance was situated in the shipping container stage,
with an ensemble of three musicians who accompanied my final dance of destruction and recovery.
I left the stage. Cut myself out of the toxic waste and re-conformed my body gesturing into the position of a watchful audience.
I sat with my hollow-self and gazed at the rest of the festivals performances, free of toxic vocabulary.
2014...
flux activate and occupy
Influenced by the Fluxus art movement from the 1960'
Paris, Amsterdam, Berlin.
Amsterdam: De Apple Gallery. 4pm. 11th September
Paris: 4pm. 12th October
I've been fascinated with public spaces as platform for choreographic actions, where artists roam a city and immersed themselves into the site.
So I insert myself into it's architecture as a form of trespassing and activating the space.
I walked the streets, find a location and occupy it, as a way to say I am here and to map my location.
Paris: Rue de Belgade. 4.25pm. 15th October
Berlin: Jewish War Memorial 11pm. 4th August
Amsterdam: Box Galley. 2.13pm. 4th September
hypnos
Paris. September 11.
2011...
I was invited by the Rue De Rivoli art group to present a work to entertain and disrupt the street.
The work is based on homelessness and satirical terror
Photo's 2011 © by Richard Keldoulis
I arrived with a pile of pillows to lay down, where I can socially disguise myself and transform.