There were thousands of plates in the abandoned ceramic factory in the North of Spain. They stuck there in a very peculiar phase of transition: already not a clay, but not yet an enameled and ready-to-use tableware. That was a teasing invitation to explore and reveal the uncanny within these familiar, domestic, "pour" objects. When put in tall pillars they ceased to be just plates. Instead, they assembled a new kind of body whose peculiar thing-power manifested itself through shaking, shivering, rustling and quirking. This assemblage wanted to be heard, seen and related to with a certain curiosity and affect.
Inspired by Adorno's negative dialectics, drawing from contact improvisation and musique concrète approaches, Kozmanidze starts to interact with the pillar of plates. Using movement, touch and momentum, she waits and oftentimes receives a visible or audible response. The narrative then unfolds as an actual walk on the pillars of plates put together as a ladder.
The work comprises a video and photo documentation of the site-specific performance and a sound installation with three compositions made of binaural recordings taken during the performance.