Min Tanaka (b. 1945, Japan)
Ba-Odori, 2019

“Everything changes… I resist a formal notion of butoh, a structured butoh that is limited to what you see on stage… I am not interested in what is finished, what has already been perfected… I am concentrating on the process of butoh, working with what is incomplete, unfinished” (Tanaka interviewed in a documentary “Butoh: body on edge of crisis”).

That reflects a lot of my own attitude towards art. If it is too framed, too polished, too articulate – I loose interest. It is glitches, loose ends, ambiguities, blurred edges and bleedings into everyday life that create entry points into an artwork and possibilities to make sense of it rather than just decode some poorly hidden message.