Reza Mirabi (1988 Iran, Germany) studied Visual Arts in Mumbai and is right now enrolled in the Masters of Choreography (DAS Choreography) at the University of the Arts, Amsterdam.
His work is located at the interface between exhibition and performance and he designs multimedia dance installations that immerse visitors in speculative scenarios and associative realities. Mirabi’s practice makes dance a tangible and material object in a space which encourages viewers to roam freely.
Mirabi has worked and collaborated with artists like Tino Sehgal, Jérôme Bel, Alexandra Pirici, Maria Hassabi, Isabel Lewis, Nile Koetting, Ruairi O’Donovan, Michael Müller, Maciej Sado, Anna Halprin, Mariana Nobro Vieira, Michele Rizzo and Sigal Zouk.
I work with dance as a way of thinking critically with and through the body. Thoughts that cannot be otherwise.
My work tries to allow for proximity, emotionality and intimacy with the dancers and between the audience themselves in which there is never any differentiation between what is stage and what is not.
In this way, my installations want to invoke alternate realities in which the audience can walk into and fully immerse themselves in. Moments and modalities to escape reality to ultimately find new ways of being with it. My practice is at the meeting point of aesthetics and somatics.
Dance here becomes a practice of (re-)articulation; it holds space for difference and enacts new relations. And it holds space that allows for new or different movements and perspectives. Dance could hereby also become a way of processing and digesting. A way not to find answers but to be with our questions and struggles in an extended and embodied way. Dance as a practice to stay with the trouble. A temporary suspension of reality and status quo, where the audience can speculate on alternate modes of existence that reject the all-pervasive systems of oppression. I am interested in working on modalities of listening to and through dance - not only with the ears but through all the senses. A way of being with the frequencies of dance. How to listen to dance? How to listen to eachother and our collective movements?
We need more collective practices to reflect, to rethink and to re-imagine through our individual and collective bodies. Practices that allow us to digest the complexities and intensities of the contemporary crisis and empower us to act.