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Florin Flueras

Florin Flueras studied choreography at UNATC Bucharest and psychology at the Targu Mures University. After working as a psychologist, he focused on artistic projects realised in Romania and abroad. In his work he often switches the contexts in which he activates – visual arts, contemporary dance, activism, theory. He is involved in projects including Unsorcery, Postspectacle, Presidential Candidacy, Bezna. Some of his projects were realised together with Alina Popa. His past projects are, among others, Dead Thinking and Second Body as well as End Pit in Istanbul in collaboration with Popa in 2013, in 2010 – Military Performance on discipline in modern dance and ballet, The Hammer without a Master as a part of The Romanian Dance History and a TV performance: The Last Apocalypse in 2009. 

He explores and problematises the political component of art and the aesthetic component of politics – mainly through practices and ideas around the concept of Postspectacle. Through concepts and practices like Second Body, Dead Thinking, Eternal Feeding Technique, he is currently developing performances and theory in the frame of Unsorcery. "Unsorcery is the embrace of an impossible cognition and a horrific affect, it is a 'via negativa' that starts where the hopes end and the remaining options are rather negative, dark and dead." In his projects he was interested in destabilising identity, assuming temporary identities like in the Presidential Candidate project. In one of his current projects, Dead Thinking, he is trying to construct a certain identity through developing a thinking less from this world and more oriented towards darkness and the unknown. 

Florin also reflects upon the body: “[Since the 1960’s it has been] clear that it is not enough to try to oppose the economic and political order, that the problem is not just about how to bring more bodies to the streets to fight the power of the authorities and the obvious problems, but also about what kind of life powers those bodies. The bodies of the protesters and that of the rulers are not that different - in spite of the racial, sexual and class differences, at certain levels we share a degree of rigidity and limitations in our bodies, life capacities and potentiality. Intuitively, a lot of what happened at the end of the 60’s was very much about addressing this situation, and about a liberation of the body from all sorts of disciplinary constraints. Since then there was a lot of talk about capitalism that constructs our minds and bodies, about an imperative to follow our desires and to bring freedom to the body. And some experimentation with common living, sexuality, psychotropic substances and everything that can be done to bring freedom of the mind and body. 

 A good example for this attitude was the passing from a disciplinary regime to a sort of expressive regime of the body in the dance of that period. Improvisation was the keyword and everything seemed to be possible, the body freed from the classical and modern dance discipline could finally express itself. The enthusiasm and the joy of the freedom lasted for a while but, after years and years of self-expression, a depressive moment arrived when the realization that there is no ‘itself’ to express couldn’t be postponed. The ‘authentic movements’ and the expressions of the ‘freedom of the body’ started to appear just as a bunch of clichés, stereotypes and patterns of movements - recombined remains from the trashed disciplinary dances.”

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