Performed at, and comissioned by, Havremagasinet Konsthall, Boden, Sweden, in dialogue with artist and scholar John Cussans (UK)
January 2017.

The sonorous performance accompanying the overall working in Boden was sound artist Carl Sjölund in the guise of  Cold Heart Investment AB. Late hours Dj-Sets was conducted by Sara Fors and the artist Roberto N Peyre himself.


Labros is a four act ritual 24hr endurance performance and installation of a dance floor, where a space (in this case Havremagasinet Konsthall - the former fodder storage for the Swedish cavalery in the northernmost outpost of Sweden) is measured, mapped, and trapped by the drawing up of a so called Troy Town - a classical Minoan Labyrinth, originally called Labros in Greek.

The actual drawing is made by the artist conducting a sports field line marker filled up with white marble garvel. The four acts consist in a measure and clensing act, a drawing act, a walking and invoking act, an euphoric dancing and destruktion act, and a containing cleaning act. All four acts are accompanied by sonorous and musical improvisation live or prerecorded.

The working is part of the artists ongoing research and body (building) of workings engaged with various notions, strategies and possessions of European cultural heritages, geographies, and migratory patterns. The Troy town labyrint with its related dances, games, and further legacies of Troy, is a key trope in many a ethnogeneric and ethnogenesis narrative of Europeaness. 

The “labros” is a particular ritual dance floor and playground design for posessions since beyond Minoan times. Its design is attributed to the mytological Daidalos (which also was an epitet and cancept mening something like what we today call artist, but with a devotional touch. Daidalo thus aslo meaning piece of sacred art.) In greek annals the labros constituted a stage - a “choreozone” (chorus, choreography, etc) for dances and games. Notable is the greek lycantropic “crane dance” with its riding scenery and other games calibrating themes of martial-and fertility character in correlation to historical and personal narrative. Some historical accounts depicting later adaptions such as the Roman “Lucius Troy” seems to emphasise a focus on cavallery and military drill in ralarion to viriliry/fertility. The musical legacy of these games can be seen in various ring- and line dances around Europe and the make up of its borders, wheter related to the mythical- or historical  battles of the antique city of Troy, or not.

The more famuos historical accounts of the Minoan  labyrint is the two mythical and litterary narratives depicting the fall of the Minoan empire. The well known narrative in favor of a Hellenistic Athens. The mythologies involves the characrers and strifes of King Minos (child of the abducted phoenician princess Europe) who comissioned the tempel of Knossos as a labyrint by Daidalos to “contain” the virile minotaur Asterion - the  son of his wife Queen Pasiphaë and the sacrificial bull (dedicated Poseidon), Theseus - hero of Athens, and the vigin Ariadne with her red thread, or blood line.