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THE BOOK: CURRENT DIARY—on the materiality of asemic writing

by Erika Tsimbrovsky in collaboration with Others 

Texts used in the dance installation: 

The King of Time: Selected Writings of the Russian Futurian by Velimir Khlebnikov, translated by Paul Schmidt, edited by Charlotte Douglas

Le Livre by Stéphane Mallarmé

First moment to share


PFS Symposium, UC Davis, May 7th, 2021


An inquiry into writing-practice performances that open up toward diverse and non-normative experiences. I explore the edges of meaning-making where thoughts are becoming, being alive, but never crystallizing into concepts. With collaborators, I use various art media to investigate the potential that evolves if the full-body’s manifestations are present in the performance. This is an asemic process and central to the way my art practice creates narratives about ‘othered’ ways of being and knowing. 

Asemic is an embodied writing practice that combines art/dance/text and shared as a moment of the artistic research on open and living in public diary, which impetus is the questions of how the whole body writes into the world (into the page) in ways that are constantly changing, interconnecting, and searching for unstable significance.

Embodied Connections: Conceptual frame and purpose


Bodily explorations of new languages and modes of communication created by entities muted and unrecognized by society are central in my art dance research/practice. It has been fifteen years since I immigrated to the U.S. by way of Kazakhstan, Belarus, Russia, Kremia, and Israel. I am searching for traces of memories that stayed in my perambulatory body that took in the spirit of moving landscapes. Having been disoriented by my life’s shifting geography, I am connecting to those who, like me, were lost in between communities, places and times. The practices leave me curious about and open to experiencing the ancient, non-conventional, embodied connections on the fringe of societies that audience members bring with them. I am tracing histories of invented languages and stories through bodily practice as an interplay of Movement and Text, both verbal and visual. This experiment, in essence, investigates the space where art and theory co-exist. 

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