Description alters what it describes, and description was the main component mediating this work. The performer on stage described what was happening, what had happened and what was about to happen. All in present tense.

The description was met by the described action, sometimes before, sometimes simultaneously and sometimes after. A few actions were executed on stage, but most of the performance took place through a document, a prerecorded soundtrack of the performer walking through the building and area surrounding the theatre.

The audience was led on a virtual trajectory where they could access the performance by using imagination, memory and speculation. The performance was a presentation of an ongoing study of the relation between choreography and architecture, and a challenge to be sensitive to multiple spaces simultaneously.

Architecture can be understood as a record of its time, displaying values and ideologies in its character. Koreografi for Dansens Hus is developed with a critical perspective on the surrounding area, Vulkan, as a “greenwashed”, gentrified and non-diverse arena focused on consumption and profit. It is important that an art institution questions its own role within such an environment, and that artists are aware of the value they produce.

The performance existed where language and semiotics end and the somatic experience begins. The work complicates notions of a clear division between fiction and documentation as fiction contains documentation and documentation contains fiction.

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