“The cyborg would not recognise the garden of Eden, it is not made of mud and cannot dream of returning to dust.” – Donna Haraway
Imogen Reeve & Co. presents an engaging triple-bill of imaginative and physical, future-facing dance pieces – including a world-premiere of their new work, ‘We Are The World’. Working at the intersection of dance, technology, and feminist thought, Imogen’s work radically reimagines the relationship between bodies and machines, creating performances and systems in which humans and artificial intelligences co-create. All three pieces feature bespoke scores from acclaimed composer Devon Bonelli, layering disparate influences from classical to contemporary – Chopin, SOPHIE, Arca.
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‘Post Truth Whatever’: set in a crumbling broadcasting centre with messages being repeated, distorted, changed and revised over and over again until reality and fiction become blurred. The performers relentlessly generate content, creating images and symbols akin to looking through a distorted mirror into reality. The work uses immersive, hand held projection and dance theatre techniques to achieve it’s clinical and unsettling atmosphere.
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‘DISCOPIA’: it’s the end of the world and a small group of survivors remain in fantasy Haz mat suits cum kitschy astronaut outfits. As they struggle in this new landscape they desperately try to remember how they let this happen. Images of emojis and gifs are collaged together to build a picture of the world through gen z eyes. The work was created using AI, asking open source generative image models to imagine apocalyptic landscapes to see how artificial intelligence envisions the end.
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‘We Are The World’: Fast forward to a glittering, post-human future where cyborg nymphs perform the rites of a new culture. With twitchy smiles, contorting torsos, and weaponised hair flips, this trio dances a shimmering lineage of femininity passed down through centuries of beauty pageants and pop icons. Equal parts uncanny and divine, We Are the World imagines a future shaped by AI and glam — a post – brat, Philip K. Dick-esque vision of what it means to inherit a culture built on performance.
“Choreographer Imogen Reeve has absolutely committed to a vibe, a weird, eerie/dreamy one at that, this trio of sirens like the Virgin Suicides meets Ex Machina.” – Lyndsey Winship, The Guardian
“A Philip K. Dick story in a post-brat world.” – Eoin Fenton, The Place
