In recent years, since the global pandemic or during any other crisis around the world, various physical mobility and collective vulnerabilities based on asymmetric positions, obligations, interests, and reflections of their actors, have become more visible in public space. They direct us to continuously explore the space for our political practices and coexistence. In the context of constant (digital) surveillance of almost all our mobility and vulnerabilities, this work explores how to touch the body that touches the screen. It points to the closeness of touch, which consists of the capability to provide response-ability: not from keeping a distance and staying out of the world, but rather from dealing directly with the world. This work stemmed from several years of artistic research into theoretical discourses of care, immunity and negative feelings, applying the specific kinetic and choreographic language extracted from different principles of socio-political co-existence as a form of resistance to today's pervasive capitalist realism. These principles come from the domains of: physical gathering from rave clubbing dance and political protest; digital gathering and interaction; and gathering under somatically-affective movement of slowness (standing, resting, breathing, spiraling, bodily fluids), set within the feminist dramaturgical structures.
* the work uses a parts of a dramatic text in the form of a quotation "Scenes of constructed relationships" by Dimitrije Kokanov
