Frankfurter Allgemeine Sonntagszeitung Between the seats My Private Biopolitics in Frankfurt Mousonturm Frankfurt.

It is a short journey between East and West. But then again, entire w orlds lie between the two theatre spheres, which Saa Asenti in My Private Biopoliti cs started to measure over while talking, contemplating mainly in a choreographic -theoretic, therefore practical way. On the left, there appears dance scene as t he core abstract frame, as a discourse platform of conceptual strategies with vi deo, sketches and stacks of texts while the right side presents stylized mine fi eld, on which theres barely anything, except for an icon and, serving as its mirr or, a graphics showing a dancer like Loie Fuller or Mary Wigman, with a shiny go lden frame. The space between is basically the one thing that entire Asentis performance moves around. This is the performance with which the artist from Bosnia, living in No vi Sad, presented himself for the first time in Frankfurt Mousonturm. Because, t he essence of this extraordinary light, and at the same time highly concentrated and continually, pleasantly comic work, is nothing short than contemporary danc e itself. And, as far as this subject is concerned, the answers to all those que stions asked to someone living in Serbia, who happens to be a dancer there, a so cialized artist, he is trying to find in the West. Should he thematize the polit ical context, to give way to traditional dance, or even folklore, so that he, as an outsider, could present himself as refreshingly interesting? Or is he contem plating on Avant-garde from Jrme Bel to Xavier Leroy, so that he himself could bec ome a part of an international discourse? But, how can that function, to refer t o great masters without making a simple ornament out of them? How to find your own language and choreographies, without becoming corrupt? At first site, My Private Biopolitics is mainly a text, a conceptual piece, bordering with lecture-perform ance genre. And then again, as this short council unfolds, it becomes more obvious how Asent i arranged this small piece with quotations and repeated parts, an astonishing sh ifts of perspective and subtle shifts of context, as well as alternations of clo sed and complex sequences of movement. Every sentence, every reminiscence and gesture flows back into discourse on cont emporary dance and its conditions in different context. Of course, as a performa tive practice which Asenti, with such an ease, managed to interweave in a formall y completed tude that made it more tangible, and in the same time more convincing , for it lacks any kind of artificial or didactic stance. As work in regress (the way that artist characterized his work in the meantime), My Private Biopolitics does not show itself simply as a dilemma in form of performa nce, but in the same time as a way to overcome it through dance, completely in t he sense of what Boris Groy said: The basic difference between the Eastern and t he Western art is, as performer quoted, the fact that Eastern art always comes f rom the East. Asenti probably doesnt believe in that. But he is working on it.