Orienting through Blindness: Blundering, Be-Holding, and Wayfinding as Artistic and Curatorial Methods

Fayen d'Evie


This essay will trace my conceptual stumbling amidst a succession of ephemeral frameworks of contact—from informal conversations to complex exhibitions—oriented through blindness. Via creative experiments, and myopic reading of William Forsythe’s choreographic objects theory, a trio of methods coalesced to texture and tension the temporalities, densities, dynamics, and choreopolitics of performative works: blundering, be-holding, and wayfinding. Blindness is not treated as darkness or nocturnalism here, but instead introduces a complexity and diversity of embodiments and relationships to perception, imagination, and consciousness, that offer an array of alternatives to the ocular standard of 20:20 vision. Blindness may destabilise performer-spectator conventions, activate attentiveness and movement improvisations, and innovate methods for sensing, archiving and conserving performative artworks. This essay will trace a few of these fledgling propositions, as I nudge blindness away from segregated accessibility policy, towards generative artistic practice and curatorial thinking. 


blindness; ocularcentrism; curatorship; improvisation

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