The Taste of Overripe Plums Reminds Me It's Time to Slowly Leave

This exposition explores questions of minority integration and collective coexistence through the metaphor of the mosquito—an unwanted organism, at once rejected and indispensable. The exposed work unfolds as a live performance in which performers’ bodies enter into processes of mirroring, repetition, and non-hierarchical synchronisation. The mosquito becomes a model of collective organisation: vibrating, clustering, rhythmically repeating, transforming the singular I into a fluid we. The performance situates itself between stage and audience, dissolving their boundaries and creating an open situation where observation and co-existence are continuously renegotiated. Costumes and scenographic elements function as extensions of biological and cultural mechanisms: light as lure and trap, sound as the persistent trace of presence, costumes as hybrid envelopes. The sound score, intrusive yet hypnotic, draws on the human perception of mosquito noise, gradually shifting irritation into immersion. The performance resists closed interpretation, inviting audiences to reflect on community-building, discrimination, or simple companionship, according to their own experiences of collectivity. Through poetic language, material metaphors, and collective choreography, it probes the dynamics of power, belonging, and shared vulnerability, situating performance as a site of reflection and entanglement between human and non-human life. Keywords: artistic research, performance, performance research, intermedia, choreography, collective, collective practice, more-than-human, posthuman, collective body, swarm, lure, trap, multispecies entanglements, kinship, sympoiesis, assemblages, becoming, becoming-with, score, rehearsal, mirroring, mosquito, insect, eradication, unwanted organism, unit, collectivity, community, minority, integration, vibration, clustering, Deleuze, Guattari, restored behaviour, ecology, ecosystem, attunement