- PERFORMANCE ART – THE VestAndPage EXPERIENCE
Andrea Pagnes (Italia) & Verena Stenke (Almanha)
I. Performance Art is a “culture bound”. It must be related to the contest. After every performance we always ask ourselves what will be the next one.
In our works we always attempt to express what we call a translative poetry. We conceive our projects investigating the concepts of beauty and fragileness, as well as the interface that exists between an action that just refers to itself, and the performance intended as a possible instrument to create or decipher a particular experience.
A performance, live or recorded, is life itself: it is primarily real.
We always try to act on memory activation, emotions, sentiments and the most intimate beliefs of who is participating.
II. To achieve an inner “shifting”, a transfer of the Being to another dimension in his appearance, it is necessary to communicate differently - but thoroughly - through gesture or instinctual actions, establishing a relation between performer and spectator with no obligations or forced intentions. Actually, performer and spectator are interdependent between one each other, but, in different measure, always reciprocally impressionable.
Thus body and soul, movement and perception are evident proofs of reality, they are also a laboratory of memory and representation. Our poetry is valuable when we arrive to investigate territories where ethic and aesthetic find their common ground.
Impermanence, identity, transfer, emotions, denial, introspection, idealization, division of the inner Self and its intimate essence in relation to the others and the surroundings- to perform these concepts often means to move on the edge that separate the realm of reality from Utopia’s one.
During a performance the many different sensorial perceptions shape an itinerary that evokes non ordinary stimulations, at the same time offering a whole range of information to awake the inner look, and realize what it may be the ineffable that every man carries inside himself.
The (human) Being exists essentially for the interaction of three fundamental factors: the biological sphere, the social-ecological one, and the inter-psychic one.
In the reality, when one or more of these areas gets in conflict with one each other, the human being, to protect itself from the loss of equilibrium and the crisis that follows, tries to find remedy by using defensive devices. Everyone does it.
Nevertheless, there is something inside each one of us that seems to be still impossible to define with precise words, but it exists and acts: someone calls it mystery, some others psychic-spiritual experience.
III. When our senses allow us to go beyond the materialistic schemes of ordinary things, we activate a different scale of inter-connective messages and impulses, which – interacting between one each other – lead to achieve a more pure and non hyper-structured way of communication.
Sounds and video images - that often represent the background of our “minimal movements” and ritual actions – aim to generate and evoke associations and concrete modifications that refer to something “different”.
A ritual can activate and indicate different processes of social relation, provided that it is not invasive or constrictive: it is simply used like an invisible instrument of re-cognition.
Inside his own Self, everyone realizes how much humble, harmonious, non-a-critic, passive he can be- and is.
Remembrances, ideas, actions and interventions: when they find a common space to flow together, they can give birth to an experience both individual and collective at the same time. An experience that is civil, social, primarily poetical as part of a creative intention, that is finally the result of an aesthetic course which carries within clearness and significance.
IV. A poetic action often interferes with the limits of human abilities, objective or subjective. A prolonged effort can efficiently test these limits, once it is guided by consciousness, patience and decisional ability of the performer.
In this way we create a flux of lasting energies throughout physical and real images that the body – being inside a given space – implements in a fixed period of time.
The “becoming” itself turns to be a practice aimed to research new codes of expression and relation, so that possible truths and reality can interfere.
Images produced by mind, dreams or visions, change throughout clear physical actions, and - as mediators of the ineffable - they become pure impressionable sensuality.
More than the five human senses, the heart is the foremost sensor that allows us to look inwardly and profoundly to get a more pure and concentrated perception of the things.
To understand is a question of profound feeling and harmonic flow of energies: it represents the extreme limit of the artistic process; as well as, in the same way, it happens when an intuition occurs for the activation of the memory – may it be genetic, collective or individual.
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