Jayson Patterson and Caner Teker’s performance “Forever Endless” in pictures by Spyros Rennt and video by Agustin Farias. With text by Ania Nowak. As seen at M.I./mi1glissé Berlin on June 6-8, curated by Joel Mu.
Masc babies on a comedown. It’s as if those boys’ eyes, wrists and rectums were linked to each other with tight yet elastic strings, interchangeably bringing them closer and further apart, spilling out of all night and day long choreographies of the dance floor, the bathroom and the dark room. No to sass, no to camp, no to virtuosity, no to the seduction of the spectator by the wiles of the performer, yes to psychoactive dramaturgies, yes to expression and non-resemblance, yes to cold intimacies, yes to children’s games, yes to always wanting more.
There’s hygiene in this choreography, a set of practical, abstracted movements, sometimes in unison, sometimes in chaos, partly tender and surprisingly sober. Hands stroke each other, they are being washed, they aim at me and others, they press against the floor and the body of the other performer to sustain the technique of moving forward and support desire, to technically and endlessly support desire.
I want it, you want it, he wants it, we’ll figure out the protocol. Things occur in intervals here, they take just the time they need, time spent on queuing to the bathroom, on metabolising, on slumping alone, on remembering to dance with friends, on telling me that you’re gonna come to my house and touch my things.
Erotica shaped through sensual harshness, PrEP discipline and childhood puppets. Day after bliss, I never want the pleasure to end. Forever endless.