Andros Zins-Browne is an artist working in the field of contemporary dance and performance. Having studied dance since an early age, and visual culture/semiotics for his Bachelor’s degree, the past 10 years he has focused on choreography, working to elaborate a zone where meaning and the body coincide. His earlier works (White Out, Day In/ Day Out) took a semiotic approach, while later works (Recreations, Second Life, Neverland) worked to complicate and undo languages of representation, while approaching a level of abstraction beyond recognizable signs.
The use of quotidian languages, often highly physical ones, and social behavior is characteristic of Andros Zins-Browne’s work, where movements from the world around us are employed in choreographic constructions. The majority of his work is initially motivated by society and politics, but he tries to abstract this as much as possible. As Zins-Browne says ‘the political is itself abstract. Its images are often very concrete, but its behavior is far more absurd.’
For the past 10 years Andros has worked with the principle of ‘ how to make a problematic situation seem unproblematic’ and has said ‘I try first to locate a particular social or political problem that grabs or bothers me. I look for what the images are that I can associate with that problem, I look for what the dynamics of the problem might be. I try to find a way that the images can engender a physical practice and the dynamics, a sense of organization. The more these two elements are contradictory, the more complex their relationship to one another becomes.’
Since 2007 Andros has had an ongoing collaboration with wp Zimmer, a workspace in Antwerp which has regularly provided him with with space for research and creation, financial, administrative, logistic and (post-) production support.
Andros is currently working on the research project immaterial bodies, embodied materials at the Jan Van Eyck Academy in Maastricht and preparing his next creation Welcome to The Jungle which will develop themes of how to consider choreography not only in terms of bodies but in terms of space and the seemingly inanimate.