INNOC€NT

Innoc€nt’s poetics introduces acts that are queering our conventional understandings of performance language in that it reads them against the grain. These acts of queering take place both on a semantic as well as on a semiotic level: The introduction of songs highlights the materiality of the voice, the fusion of different national languages troubles the desire for communication and the act of selling art works within a piece of live art introduces the language of the art market into the allegedly innocent realm of performance. While the piece offers on a content-level an important critique on issues such as neoliberalism, heteronormativity, and the art market, its strength really lies in revealing the influence that these issues have on our imagination, our desires and our language. Innoc€nt does not simply dismantle the meaning-making and reality-producing effects of language in the age of neoliberalism, but proposes an alternative to the conventions it reveals.