Unfolding across Amant’s campus and extending into the surrounding public spaces on Maujer and Ten Eyck streets, CELL CYCLES is a series of choreographed dance and sonic programs that rethink experiences of the body in the biological, social, and organizational senses.   

Departing from Amant’s Spring 2024 exhibitions, which foreground the collective retelling of stories from the past and present rather than focus on a singular, homogenized narrative, CELL CYCLES occupies the space that emerges between the oscillating dichotomies of the synthetic and organic, the past and the future, and individual and communal experiences. This in-between third space is a catalyst, conjuring, respectively, transspecies symbiosis, alchemical healing, recuperated history, and speculative cosmology. Each of these indeterminate and transformative encounters proposes collective mythmaking as a method of liberation from hegemonic concepts of identity and community.  

CELL CYCLES opens with Layton Lachman’s infinity kiss —a roving piece of choreography that finds kin outside the human subject through a symbiotic relation of bodies in space—and concludes with the speculative cosmology of Joshua Serafin’s VOID, which draws on precolonial identity formations to conjure a genderless, futurist deity. En route, this malleable journey makes stops at an alchemical healing ritual with Osías Yanov’s Salt Choreographies and maps Black histories of techno music onto improvisational dance with rhythmanalyst DeForrest Brown, Jr. and interdisciplinary tap dance artist Michael J. Love in Standpoint (Rhy)pistemology. Together these programs attune to how human beings and their non-human counterparts—whether chemical, physical, mineral, or social—influence one another. 

Image: wro wrzesińska & Layton Lachman, 3D video still, infinity kiss, 2023.