05 October 2017
see a fragment of our video on blogs (works) or on www.veditu.blogspot.it
We have spent a lot of rows in tell what we think about the Market, ourselves in the Market and the body immersion in the Market.
But if the body evolves and changes, if our organs, starting with the larger, that is, the skin, are mutated, can the performance practices remain immobile.
Bruce Nauman, Vito Acconci, Gina Pane, Marina Abramovic were hurt, did penance or the opposite, renounced at food, cut, shed blood, used blades, making explicity known in their flesh the oppression, neurosis, Taboos imposed by society. Still, considering the body as the last bastion, the ripped but strong veil between the I and the Market. "My body is my home," said Abramovic recently.
But the house, now, is populated. The organs are changing thanks to the prostheses that surround us every day. Does it make sense to mark a territory that is a no man's land, defend a frontier where the opponent (or friend) has already passed? The same action, action, individual action in the Market tends to cease. In fact, all this writing of Others, on the other, is the weeping of those who refuse the pleasure of the new organs, the nostalgia of the last century. So if action and body are call in question by the Market where the performances goes? Can be Anne Imhof's Faust at the Biennial? Can be some representations of Virgilio Sieni (eg The Gospel according to Matthew at the 2014 Dance Biennial)? To tell the truth if we take Faust's text and any of our scripts, they're a bit similar. We will have common readings.
With this first video that resumes the famous one of Abramovic: "Art must be beautiful, artist must be beautiful" we start working on. Starting to take off some things: the individual, the artist and his body. His gesture. And whatever must to be, albeit ironic, to the art.
It seems right, first of all, to remove bulky things, ideologies (which does not mean politics, Faust is very politicized). Then we will also move the trappings.
We have spent a lot of rows in tell what we think about the Market, ourselves in the Market and the body immersion in the Market.
But if the body evolves and changes, if our organs, starting with the larger, that is, the skin, are mutated, can the performance practices remain immobile.
Bruce Nauman, Vito Acconci, Gina Pane, Marina Abramovic were hurt, did penance or the opposite, renounced at food, cut, shed blood, used blades, making explicity known in their flesh the oppression, neurosis, Taboos imposed by society. Still, considering the body as the last bastion, the ripped but strong veil between the I and the Market. "My body is my home," said Abramovic recently.
But the house, now, is populated. The organs are changing thanks to the prostheses that surround us every day. Does it make sense to mark a territory that is a no man's land, defend a frontier where the opponent (or friend) has already passed? The same action, action, individual action in the Market tends to cease. In fact, all this writing of Others, on the other, is the weeping of those who refuse the pleasure of the new organs, the nostalgia of the last century. So if action and body are call in question by the Market where the performances goes? Can be Anne Imhof's Faust at the Biennial? Can be some representations of Virgilio Sieni (eg The Gospel according to Matthew at the 2014 Dance Biennial)? To tell the truth if we take Faust's text and any of our scripts, they're a bit similar. We will have common readings.
With this first video that resumes the famous one of Abramovic: "Art must be beautiful, artist must be beautiful" we start working on. Starting to take off some things: the individual, the artist and his body. His gesture. And whatever must to be, albeit ironic, to the art.
It seems right, first of all, to remove bulky things, ideologies (which does not mean politics, Faust is very politicized). Then we will also move the trappings.
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