Whitney Biennial Performances:

Sundays: March 11–May 27

1 pm
Fridays: March 9 and 16; April 27; May 18
7 pm
Free with Museum admission. Space is limited and is available on a first-come, first-served basis.

For more information, visit Georgia Sagri's artist page at whitney.org

The emergence of technical advancements has transformed the way the body activates, composes and diffuses its presence. Every aspect of life is a performance for an undefined and continuous spectacle. There is no clear distinction between the producer and her product. The role of the author is diffused and the DJ becomes the paradigm for generations that met inside clubs, in huge music festivals and spent much of their time in constant transit, targeting an alternative form of work or even no work.

I’m interested in the dematerialized means of production in music industry and its agents, with the use of countless tools – re-mixing, sampling, copy and pasting, designing, becoming the model, giving service for, arranging and turning into the catalyst for any sort of diverse actions.   

The apparatus - architectures, plans, transportations, transmissions, communications, technologies, gadgets, any software of any sort, translations upon reproductions and re-translations - defines our perception, accumulation, and interaction. For my recent pieces, music is a method and operation. The rehearsal and the performance happens simultaneously by reciting movement modules that I find around me : on the internet, on various media, products, billboards, which then will be repeated again and again and presented in real time as sound phrases, melodies, rhythms, bases. This operation can exist in fields of constant flux, where individual and group interweaves. Social gathering is not bound anymore by any particular tradition. Relations are not created only through physical interaction but in circuits where acts turn into materials, texts, traces, media fragments that are available and can be immediately used. Gestures are carrying history and they can expand, develop and transform into new sources and waves which I observe, mimic and compose. For example in the piece Mask / Species of Politics I worked on several source materials. Some of the most recent were: the Greek prime minister’s hand gestures in the parliament, the woman’s cry at the Fukushima nuclear catastrophe, the smile of a teenager at an uprising.

The moment of composition is an environment of sound, pleasure, beats and exploration.