Kim Miller is an artist based in Milwaukee who explores ideas around power, agency, action, and meaning through video, performance, and organizing. Miller borrows and merges methods from performance art, dance, theater, and film to uncover questions around a radical democratic model. Social Choreography is a project by Kim Miller for Actual Fractals, Act I & Act II in which her “scores” ask you, the viewer, to actively participate in the exhibition. Miller’s creative prompts may have you consider questions, perspectives, movements, gestures, or memories that expand your awareness of the relationships between body, art, and the environment.
Kim Miller’s custom Social Choreography scores can be found on the object labels throughout our exhibition and are a reminder that sculpture relies on us, the viewers, to activate, make meaning, and bring the works fully to life.
Kim Miller is an artist based in Milwaukee who explores ideas around power, agency, action, and meaning through video, performance, and organizing. Miller borrows and merges methods from performance art, dance, theater, and film to uncover questions around a radical democratic model. Social Choreography is a project by Kim Miller for Actual Fractals, Act I & Act II in which her “scores” ask you, the viewer, to actively participate in the exhibition. Miller’s creative prompts may have you consider questions, perspectives, movements, gestures, or memories that expand your awareness of the relationships between body, art, and the environment.
Kim Miller’s custom Social Choreography scores can be found on the object labels throughout our exhibition and are a reminder that sculpture relies on us, the viewers, to activate, make meaning, and bring the works fully to life.
Social Choreography Score
for Actual Fractals
Social Choreography Score
for Actual Fractals
To stumble, to flail, to hesitate, is not to fall. Make a gesture that stumbles – one that reaches for something without arriving.
Social choreography works with and through a body that is not an image – the body is not a representation of something else. The body is not a problem. While it holds ideology, it never does so fully, or for long. The flesh of the collective is historically, culturally marked and named. The body-field, collective enfleshment, is a condition for possibility of change. The body is not a thing, but a lived body, the body is a question – what do I do? – an open possibility.
What do you do?
How can you move right now, right here, towards a change? Make a gesture of change. Scale this gesture until it reaches someone else.
To stumble, to flail, to hesitate, is not to fall. Make a gesture that stumbles – one that reaches for something without arriving.
Social choreography works with and through a body that is not an image – the body is not a representation of something else. The body is not a problem. While it holds ideology, it never does so fully, or for long. The flesh of the collective is historically, culturally marked and named. The body-field, collective enfleshment, is a condition for possibility of change. The body is not a thing, but a lived body, the body is a question – what do I do? – an open possibility.
What do you do?
How can you move right now, right here, towards a change? Make a gesture of change. Scale this gesture until it reaches someone else.
