LAX

The athleticism of rest is not an absence of strength, but a disciplined pause that requires just as much practice as movement. Within the exhibition Self-Portrait as a Pregnant Woman by Teresa Solar Abboud at Kunstverein Hannover, the US-American dancer and choreographer Jerron Herman explores the qualities of rest in his solo performance LAX. Between control and letting go, stillness itself becomes a dance, one that resists performance pressure and ableism.

In the works on view, Teresa Solar Abboud investigates the endless cycle of life. One of her installations consists of five large red forms that resemble both canoes and human leg bones. The title Osteoclast refers to bone cells that break down and renew tissue – a biological cycle of destruction and regeneration. Abboud translates this process sculpturally and uses it as a metaphor for bodies that transform and reshape themselves.

LAX is a site-responsive choreography that actively engages with the objects in the exhibition and the spatial architecture of Kunstverein Hannover. The dialogue between Herman and Abboud dissolves the sculptural rigidity of the exhibition space, transforming stillness into flow and vulnerability into strength.

Jerron Herman is an artist who creates images of freedom and self-determination. His performances and installations have been presented at the Whitney Museum, Danspace Project, the Metropolitan Museum of Art, and the Guggenheim Museum, among others. In addition to his artistic practice, he is also an author, curator, and ambassador. He is a member of the INTERIM collective, which promotes the visibility of disabled artists, and has been awarded the USA Fellowship 202 4 and the NYU Centre for Ballet and the Arts Fellowship 2023–24.