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
performative installations
intertextual bodies
photo by ben mangion © 2012
act of body disqualification: 2001
act of being inside / out : 2002
act of trespass: 2001
act of being inside out 2002
I co-established Intertextual Bodies in 1998 with visual artist Robert Mangion, investigating the body as a site for intervention in public spaces.
The idea was to construct works without conclusions as performative installations. This broadened my practice into a conceptual and theoretical level and I moved from theatres to foyers, courthouses, public spaces and performed in art galleries.
I choreographed dance that was not strictly dance. The collaboration questioned and challenged the roles of dancer and visual artist.
Our actions are derived by chance and altered continuously, which were anchored in an ontological relationship between sculptural objects and mimetic gestures, investigating links between the concrete and the apparition body, object and subjectivity.
Everyday we are confronted with moral choices on how to act and how to behave. Should we intervene? Should we ignore? Should we commit? Should we resist?
Intertextual Bodies examines actions both constructed and naturally occurring within the architecture of public space and presents the collaborative work of choreographer and visual artist.
The ethics of moral behavior informs the composition for the artwork which are metaphors examining the relationship between complacency and amoral action