Amid the fog of fallen pipes and broken monuments, enigmatic figures detail a space of opacity, erotics and fragile connections. Drawing from theories of ‘unworlding’ and the psychoanalytic anti-reparative stance, the work seeks to address the aesthetics of collapse and its potential to loosen the body from systems of gender and progress. This is not a site to disregard but an abundance of situations to be reckoned with.

The writing of the performance is partly driven by an uncanny numerological significance of the number 5: intertweaving the connection between the 5 stages of grief, the 5 stages of

decomposition and finally the 5 acts of a classical play.

Collapse in 5 Acts: there is porn of it, confronts architectural and structural ruination against a backdrop of the capitalist drive for renewal. It actively invites the public to consider the wreckage of all that we have built and inherited as available remnants for a romance with the future, archive of the past and a sobering recognition for where we are now.

About

Aughterlony and Rosenblit have shared an artistic practice spanning a decade, resulting in numerous collaborative projects in diverse configurations. Collapse in 5 Acts : there is porn of it marks a return to their co-authorship and revisits their 2017 experimental project Everything Fits In The Room, originally commissioned by Haus der Kultur der Welt and HAU Hebbel am Ufer for the festival 100 Years of Now. This immersive work, centered around a free-standing brick wall, reached audiences across Europe and the US through performances, workshops, and discourse. Seven years later, this new iteration examines how the architecture has weathered, eroded, and crumbled. Their reflections on progress and repair reveal nuanced explorations of the erotics of decay and ruination, emphasizing the necessity of un-doing and transformation.