“Maybe doing nothing for a while is the best way an activist, an artist, or an academic can do anything.”
– Matthew Day
In our last episode of season three, on dance and value, Jana and Beth are back in the studio together, this time joined by co-host Audrey Schmidt, to talk with choreographer Matthew Day about affect, physical touch, and how we can be queer outside of queer theory.
Matthew is one of the most interesting among the younger generation of Australian choreographers, appearing seemingly out of nowhere at Next Wave 2010 with THOUSANDS, a work of fully formed brilliance which would later form part of his Trilogy series. He has recently completed a Masters of Choreography at the DAS Graduate School in Amsterdam, and is about to present his new work, ASSEMBLAGE #1, as part of his Housemate residency at Dancehouse. Whoever has seen the Trilogy series – described as “a suite of visceral eviscerating works” of searing minimalism – would find it hard to imagine that, as a teenager, Matthew was a ballroom dancing champion.
Audrey Schmidt is a writer, curator and editor of contemporary art publication Dissect Journal. Her continuing research focuses on contemporary art, gender, biopolitics and identity in late capitalism, and her writing about Australian queer art has underpinned this series.
“I feel like – forget theory for a minute – I feel like, hanging out with my queers, that’s where I learn. I didn’t learn this stuff from reading books. My queer education was on the street – it was in bars, it was organising, it was going to buy beer, and squatting places, and putting on parties, and fucking up, and getting lessons, you know? For me, it’s messy, it’s always been messy, it’s never been binary. And embrace that mess, you know?”
– Matthew Day