drawing[my]perceptions & drawing[their]perceptions

Butoh Workstore © Valentin Tszin

drawing[my]perceptions & drawing[their]perceptions - it's a Butoh Workstore that is built around the principle of game rules and is one day long, from the moment of awakening to the moment of falling asleep. Participants from all levels of experience are welcome: performance artists, dancers, actors, or just those that often ask themselves "What is reality?" or "What realities are possible?"


Butoh is a unique form of artistic expression and theatrical dance. Founded by Tatsumi Hijikata, it is a discipline without a single established definition. The concept first took shape in 1960's Japan, and was heavily influenced by French surrealism, dada, and post-modernism. The core philosophy of butoh dance is the process of "becoming."


Every Workstore has a strict set of working principles that helps the participants and curators to build a unique model of perceptions, both their own (work in progress) and the spectators' (performance). By comparison to a traditional workshop, our Workstore concept does not involve one-sided dynamics between the curators and participants, but rather provides the necessary instruments for the participants to create their own methods. It is therefore very important to observe rules, such as the mode of the day, the limitation of verbal communications, and the principle "the question is more important than the answer."
Each Workstore will be distinct, meaning no repetition of wordy metaphors, the group's curators, nor the venue in which it is held. Participants will receive further details and instructions after application.


One of the specific techniques of early Butoh was "crystal eyes," or a type of defocused gaze that allowed a dancer to clearly see their full, 180° field of vision. With this also comes a decentralized state of mental consciousness and complete awareness of their surroundings. As Kant's philosophy asserts that the world is not only that what we can see, contemporary science also questions the supposed truth of a singular experience for reality. In the base of method "drawing [my]perceptions & drawing[their]perceptions" are three modes of perception, conditionally designated as 2D, 3D and 4D. 2D what i see (know) , 3D what is imagined, 4D is what is unimaginably. These three modules allow us to use completely different levels of potential: personal, observer, physical, and mental.


"In the past century, quantum physics has already gained a decent list of experiments that show the relativity of our understanding of what is reality. And the philosopher Alain Badiou said that the only true language of our understanding of reality can be mathematics.
Since 2009, I have regularly conducted workshops that were based on the ideas of objectification and alienation: Semiotics of Human Body (2009-2013), Body Alienation (2014), Denial of Errors (2015), Elements of Desire (2016), and 4/4 4/3 4/0 (2017). These concepts were mainly inspired by the theories of the "speculative realism" of modern philosophy, its "object-oriented ontology." But the main counterpoint of my method has always been the contradictions of three different schools of my personal background, namely Taekwondo, drama theater and Butoh (the body as a function, the body as a conduit, and the body as an existence). However, all of these studies were more one-sided, such that I only offered students the results of my personal experiences and opinions.
"drawing [my] perceptions & drawing [their] perception" is the program 2018-2020 isn't about "what is reality?," but "what realities can be?" For better or for worse, our world is expanding and becoming more complicated, though ultimately it doesn't matter. My main question is not, "Do I want to know the world?" but rather, "How many worlds do I want to know... or create?"
Valentin Tszin

Berlin, 2018