after-lived

after-lived unfolds as an exhibition-based performance. During the galleries’ open hours, performers work through gestures learned from a motion-capture animation archive: they embody, repeat, reorient, and endure them. Each performer trains with an avatar generated from a digital scan of their own body, set in motion by software. What begins as data becomes flesh, altered by the screens it has passed through.

The motion-capture archive carries a residue of seamless violence: combat loops, evasions, falls, and impacts. These gestures circulate in a dense image economy online and in games, detached from their original conditions and optimized for reuse. Here, however, they meet the weight of gravity. Slowed down and enfleshed, a fall is no longer seamless. Impact registers. Repetition produces strain.

The title after-lived names a condition in which systems persist beyond their declared obsolescence, continuing to operate even after their logic has been exhausted. In this state, gestures survive their contexts. They loop, mutate, and return. The body becomes the site where these loops are absorbed, tested, redirected, and possibly exited.