Il silenzio è l'ascolto di quello che manca
Performance, Human figure, 20:00
The performance “Silence is listening to what is missing” attempts to activate a circular and continuous movement between the elements. The strain is not in the action itself but in reaching out for what is missing.
The performer (Lucia Bricco) is hanging onto the wall of the museum at a height of about 3-4 mt, motionless, just a moment before reaching the desired point. She looks directly to the sky. She has a climbing harness and a rope going down into the hands of the second performer (Federica Peyrolo) that secures her, counterbalancing with the weight of her body. The second performer is lying on her back on the ground, directly under the first performer and pushing her legs against the wall as she carefully watches over the climber. An aluminium plate with the inscription “Silence is listening to what is missing” hangs on the same wall. The performers stay motionless during the whole performance.
Every element of the action (performer1, performer2, rope and title) are an incomplete part of a movement with three different directions and three different impetuses. The lack, or the absence, is the only drifting factor within the multiple orientations of this space.
The subject of the performance deeply affects me and maybe for this reason I found it difficult to plan it.
The obsession to solve a kind of rebus and the feeling of not being "up to it” are themes closely related to my artistic research, and they are also strictly connected to the identity of this performance. The verb "to desire", etymologically meaning the absence of stars or the contemplation of a sort of missing infinity, is an issue that, inserted in a circular time scheme, excludes the possibility of an arrival, leaving the possibility to contemplate this absence as if it were a prayer. As I was planning, I realized that I was searching, and in my search for the missing I was performing my artwork. I realized that start and arrival were the same thing and that probably these two instants don’t exist in my work. I intensely experimented a circular search.
Therefore this performance lacks. It lacks in a circular way. Between the elements – the climber, the stretched rope, the person who secures the climber and the title plate– it is the absence that moves according to a circular scheme. The difficulty to consider one of the elements as autonomous serves as an impulse to scrutinize the next element in search of what was lacking in the previous element. In a tableau vivant, and in still frames in general, what you seek is a movement that is in everything that you cannot see.
During this research I have been the instrument of this movement.
The performer (Lucia Bricco) is hanging onto the wall of the museum at a height of about 3-4 mt, motionless, just a moment before reaching the desired point. She looks directly to the sky. She has a climbing harness and a rope going down into the hands of the second performer (Federica Peyrolo) that secures her, counterbalancing with the weight of her body. The second performer is lying on her back on the ground, directly under the first performer and pushing her legs against the wall as she carefully watches over the climber. An aluminium plate with the inscription “Silence is listening to what is missing” hangs on the same wall. The performers stay motionless during the whole performance.
Every element of the action (performer1, performer2, rope and title) are an incomplete part of a movement with three different directions and three different impetuses. The lack, or the absence, is the only drifting factor within the multiple orientations of this space.
The subject of the performance deeply affects me and maybe for this reason I found it difficult to plan it.
The obsession to solve a kind of rebus and the feeling of not being "up to it” are themes closely related to my artistic research, and they are also strictly connected to the identity of this performance. The verb "to desire", etymologically meaning the absence of stars or the contemplation of a sort of missing infinity, is an issue that, inserted in a circular time scheme, excludes the possibility of an arrival, leaving the possibility to contemplate this absence as if it were a prayer. As I was planning, I realized that I was searching, and in my search for the missing I was performing my artwork. I realized that start and arrival were the same thing and that probably these two instants don’t exist in my work. I intensely experimented a circular search.
Therefore this performance lacks. It lacks in a circular way. Between the elements – the climber, the stretched rope, the person who secures the climber and the title plate– it is the absence that moves according to a circular scheme. The difficulty to consider one of the elements as autonomous serves as an impulse to scrutinize the next element in search of what was lacking in the previous element. In a tableau vivant, and in still frames in general, what you seek is a movement that is in everything that you cannot see.
During this research I have been the instrument of this movement.
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