Sweet by Aitana Cordero Vico (Featured image)
Escenas para una conversación después del visionado de una película de Michael Haneke- EL CONDE DE TORREFIEL
Retrospective by Xavier le Roy
“Retrospective” by Xavier Le Roy is an exhibition conceived as a choreography of actions that will be carried out by performers for the duration of the exhibition. These actions will compose situations that inquire into various experiences about how we use, consume or produce time”
This exhibition employs retrospective as a mode of production rather than aiming to show the development of an artist’s work over a period of time. It seeks to recast the material from the solo choreographies in situations with live actions where the apparatuses of the theater performance and the museum exhibition intersect.
Based on solo works by Xavier Le Roy created between 1994 and 2010, the work unfolds in three time axes: the duration of the visit composed by each visitor, the daily basis of labor time of 16 performers and the time of the growth of a new composition during the length of the exhibition.
With 6 to 7 performers alternating with each other: Idurre Azkue, Quim Bigas, Cristina Blanco, Pere Faura, Sergi Faustino, Núria Gregori, Mizar Martínez, Guillem Mont de Palol, Elena Murcia, Mariona Naudin, Cristina Nuñez, Aimar Pérez, Karolina Rychlik, Clara Tena, Carme Torrent, Javier Vaquero.
From the 21st of February until the 22nd of April in Fundació Antoni Tàpies/Barcelona.
CHRISTINE GAIGG- Maschinenhalle#1
A limited space in which machines make up their own world, that we can observe and analyse, but not influence; whose systems we hear, see and feel, but do not understand. A world to which we are exposed.
Together, choreographer Christine Gaigg, composer Bernhard Lang, computer musician Winfried Ritsch, and light designer and stage designer Philipp Harnoncourt create a cross-genre art work specially for the Helmut List Hall for the opening of steirischer herbst, whose individual elements are connected by invisible threads: the shop, the machines and the people become a meta-machine whose rules determine the processes.
At twelve stations, arranged in series and each consisting of an acoustic panel and an automaton piano, twelve dancers perform in a feedback situation of movement and self-generating sounds. The result is indirect music: the steps on the acoustic panel are translated by a computer and transferred to the keys of the automaton piano, then played back and reinterpreted with human possibilities. In the repetition, the movements formed from the sound material change: new rhythms arise and challenge the dancers’ creativity and precision.
The twelve units correspond to each other, at times soloistic, at others choral, synchronous or contrapuntal – but always unpredictable in sequence and spatial distribution.
The machine pianos have an inherent technical virtuosity of which a human player would be incapable; the dancers then transform – equally masterfully – the machine-generated rhythms into complex, wild-flung or gently suggested adventures in movement. The juxta¬position and co-operation of man and machine is venturesome and full of friction.
AITANA CORDERO VICO- 3 ways to master a kiss or a twentyfive minutes kiss at your neck
I remember 27 different “tastes” and one that feels home even after 13 years of repetition.
I remember big lips where it felt good to rest. I remember someone’s saliva that activated
my digestion process.
I remember impossible patterns, kisses that were a fight of nervous teeth.
I remember hard lips that pulled me out, I remember not thinking, I remember that I fainted
once.
Quim Bigas Bassart had also worked with Oleg Soulimenko, Ellen Kilsgard, GUACHO collective/Gustaf Iziamo, Ibrahim Qurashi, Matej Kejzar, Jeremy Nelson, Luís Lara Malvacías, Akos Hargitay, Deda Cristina Colona, Diego Gil, among others.
Quim Bigas Bassart 