Simone Aughterlony

About This Artist

Simone Aughterlony is an independent artist based and supported in Zurich and Berlin, working predominantly in dance and performance contexts.

Over more than decade, Simone she has been devising and producing choreographic works. As a performer she has worked with artists such as Meg Stuart/Damaged Goods, Forced Entertainment and Jorge León, Phil Hayes amongst others. In 2015 «Supernatural», a collaboration with artists Antonija Livingstone and Hahn Rowe premiered in American Realness while in the same year the performance project «Uni * Form», devised by Jorge León and Simone premiered at Zuercher Theater Spektakel. Alongside en extensive tour of these works and the «Biofiction Trilogy» of which «Biofiction» is the third part. She is currently performing with Jen Rosenblit with their peformance project «Everything Fits In The Room», a commission from HAU Hebbel am Ufer and Haus der Kulturen der Welt.

Engaging with alternative forms of kinship, inside her process new constellations of family emerge as possibilities for reconfiguring a culture of togetherness that foster both familiar and unknown quantities. Her works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis-recognition and the absurd. Simone approaches the performance genre as a world building practice where she navigates the contradiction between the domination of desire alongside the agency of all elements.

About This Project

Observing the Supernatural grants access to a shared kaleidoscopic body.

Human and non-human actants camp together on a hot pink terrain under an unblinking fluorescent sky. With axes, wood, violin, electronics and the bare body, Simone Aughterlony, Antonija Livingstone and Hahn Rowe stage an inquiry into some vibrant matters.

Supernatural suggests a wilderness that signifies a plurality of agencies without ontological hierarchy – the vigour of the blade, the skin, the wood, the rope, the gaze, and all in our midst, buzz together lovingly in a hot debate on the political ecology of things.

Queer lives know that being in disguise can encourage the dissolution of normative identity patterns of recognition. Supernatural actively chops up the topography of gender perceptions and welcomes the joyful techno construction of multiple bodies and pleasures.

Is this movement research or fun post-porn practice?

Whatever it is, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.