post-review

Our experience of cities is founded on a multitude of acts of boundary making, constantly expanding from our room, to the house, the street, and the interiors we spend our time in. By the repetition of our actions we define our own territory that sits within a larger stage of places we inhabit. Cabaret Voltaire is a story of an escape, or a transgression of one's own territory into a further intensity of a limit, to allow for freedom.

In the Re-Con the space of event is re-enacted through the narrative of its founders. Through self-impose exile they crossed the geographical territory to construct a form of boundary in a room, the virtue of which lies in the limits of time and other invisible borders (political, social, ideological). The re-making of the room of Cabaret Voltaire ultimately creates a stage for this crossing of limits - the influence they bring into the room, the performances within it, and the works that transcend beyond it which forms another series of events.

As the founders of Cabaret Voltaire were in search of this space of freedom to stage their protest - we too, are in constant search for an escape from the geography of normality of our everyday life. Freedom is a space of construct - it conveys the absence of limit, when it only works in a form of confine. The efficacy of the confinement demands temporality; lies within its border are seeds of crossings and dispersion.

Out of our city, out of the everyday - the idea of escape and freedom becomes the currency, and limit is the interface.  The chosen site is a non-site, a place where time and limit is a pure construct, the plasticity one may chose over our real city. Through the consumption and mechanism of this floating city the potential of a city as a stage is explored.