Through the choreography of drawings and bodily movements, Koester traces methods intended to access or express physical sensation beyond cognition. In an ambiguous dark space, a mime performs the exercises described by the infamous anthropologist

Carlos Casteneda in his 1998 book Magical Passes. According to Casteneda, these were secret shamanic gestures meant to enhance one’s ability to navigate “the dark sea of awareness”. In Tarantism, professional dancers enact an ecstatic dance which, according to folklore, could ward off symptoms caused by the poisonous tarantula’s bite. This frenzied movement is echoed by My Frontier is an Endless Wall of Points, in which Koester uses stop-motion animation to move through the mescaline drawings of Henri Michaux. Koester sees these drawings as remains from a journey into foreign territory, an exploration of the vast worlds on the borderline of language. Taking text from H.P. Lovecraft’s published outlines for horror novels, Koester has also made a text-generating program that randomly pairs syntax and words. This piece, Numerous Incidents of Indefinite Outcome, creates a sort of “mental theatre” infused with chance and perhapsness. So following strange recipes, manuals, or sets of instructions with performativity and creative license, Koester re-animates these remains of hallucinogenic journeys.