The title – M.E.N. – says it all. Capitalised. Declamatory. Male, of course. Edhem Jesenkovic’s quartet plays out through a series of masculine scenarios. The opening solo, set on and around a box, flits from casual to show-off to wary, finally revealing the silhouette of another man caught inside the box, like a caged soul. There are, it turns out, four boxes: one for each man. They are arranged to form a long desk, around which two men pursue each other in futile circles. Or they are used as stern lecterns for three men, while a fourth presents himself before them as if his body were a statement in his defence. There are face-offs and stand-offs, and though there are also scenes of balance, trust and support, the overall sense is of prowess and tensile strength – always impressive, but increasingly wearing.
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