class right now, the performance of which will have happened by the time this magazine is out. Of course, you never met Bausch but you share many commonalities – she had a huge impact on 20th-century dance, theatre culture and performance with a focus on the body, communicating emotionality through physicality. Teaching is also an important part of both of your practices.
The students were international, coming from Romania, Brazil, Korea, Belarus, Hungary, Italy and Germany. I didn’t want to tell them what to do. They had to come up with ideas and I wouldn’t tell them if those ideas were good or bad. I wanted them to find out whether things worked or not just by doing.
We should always look at the ideas that are in the rubbish, because they’re the ones we’re afraid of, they’re the ones we don’t have the guts to make. MA: It is so important to somehow embody the freedom of expression. That again deals with fear because we’re so afraid of what somebody might or might not say. But it’s so necessary to put the crazy ideas all together and see what comes out. Especially right now.
HUO: So you’ve curated the Essen project – as an artist. That’s another part of your work. Many important historic exhibitions have been curated by artists. Of course you curated the Guggenheim group show. It was essential, in terms of restaging performances. And then we did the project in Manchester, together with Alex Poots and Maria Balshaw, called. It was a show about long durational work and was presented at the Whitworth as part of the Manchester International Festival.
But when you are in the public and in front of the real audience, like a museum audience, the extra three hours come from your own energy. The public gives you this energy, and that’s something you learn only by doing it. So rehearsing is only halfway.HUO: Is that independent of the Royal Academy? Winged coat in leather by RICK OWENS. Stylist’s own turtleneck in stretch cotton. And tube dress in nylon Jumpsuit with bows and tutu in polyester by COMMECoat in neoprene-bonded tactile viscose with bow detail by MAISON MARGIELA. Stylist’s own glovesI was also very aware of the young public. I want super-young people in the audience that would never go to an opera. I really succeeded, because so many of the audience members have never been to an opera before.
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