these modules unfold like a displaced, ethnically mixed emigrant body: constantly resetting, beginning again, re-writing, re-imagining, calculating, and researching each new origin until its radical limits.

the project thus becomes a macromodular constellation of performances with varied dramaturgies and formats. it is a study of memory and identity that operates through spontaneous composition, geomantic algorithms, autofabulation, family archives, and theories of critical cartography.

bringing together the mapped geographies of alina’s origins – Eastern Europe and the Middle East – the project proposes a reading of the Borgesian notion of infinite knowledge. it reflects on the limits and epistemological conditions of comprehension of a corporeality that is being constantly resignified, and on what it means “to understand”: the accumulated information, knowledge, and the “other”. by questioning the threshold at which accumulation becomes self-erasure, the performativity of an “alien” body in the book of sand seeks a – perhaps impossible – formula for approaching liminal and erased identities within the accumulative dynamics of DNA. ultimately, it poses a fundamental question: how much of us remains?