Abstracts
Caged Bodies. mso-ansi-language:EN-GB"> María Teresa Muñoz. The architectural concept of cage has to do with an enclosed area that locks up someone that can always be seen and watched from the exterior, be it an animal or a human being. In this article, we analyse the morphology of the cages used by the main character of the novel Gulliver.s Travels by (Jonathan Swift, 1726), marked by orthogonal geometry and the constant reference to the human bedroom, as well as the cages of the zoological gardens proposed by Berthold Lubetkin and the Tecton group between 1932 and 1935. In these latter, both orthogonal geometry and the reference to the original living environments of the caged, will be replaced by constructions more adapted to the movement patterns of the animals, also trying to provide them with a pleasurable life, something that is never allowed to caged humans.
Structural Aspects in Acusmatrix. font-family:Arial">Pablo Palacio and Muriel Romero. In this article, we will go through some of the techniques and technologies used in the creation of the piece Acusmatrix, but we will above all reflect on the theoretic aspects that sustain them, and from which the problems and solutions exposed in the piece derive.
Aberrations of Gravity. Arial;mso-ansi-language:EN-GB">Heidi Gilpin. In this renowned essay, Heidi Gilpin approaches the idea of the falling body from the perspective of the movement research she did with William Forsythe and the Ballett Frankfurt. Many conceptual impulses are discussed, from failure and falling to lightness and effortlessness. In the course of rethinking corporeal movement potential, Rudolf von Laban.s idea of the kinesphere is reconsidered. Forsythe´s deconstruction of balletic movement vocabulary involves dispersing the center of the body into an array of centers at virtually every joint of the body, in proliferation and perfect disorder. This generates unpredictable movements otherwise unimaginable. An aesthetic of disappearance emerges; the body of the dancer becomes the site of invisibility and of a hyper-referentiality that is forever deferred and at the same time made present through the relentless revisioning and reenacting of movement potentials.
De Keersmaeker: the Emotion of the Structure. Philippe Guisgand. It is often the harmonious complexity of the composition that strikes the new spectator of a piece by Keersmaeker. All the more because that geometry inscribes itself on the plateau as if a secret plan organised the chaos of the dance, the mad running and the encounters. The article shows that the keys to such compositional complexity pertain first of all to the connections the artist weaves with music, but also to a fascinated use of numbers and formulas. Yet these almost mathematical practices remain at the service of a dance conceived as a process of unveiling.
The Making of Doubt. font-family:Arial;mso-ansi-language:EN-GB">Colette Sadler. Taking the parameters of the everyday and interacting with the banal minimum to the maximum, chair and table becoming vehicles through which to subvert meaning, utility and function. A mimetic relationship between chair and body allows the body to assume the deathly and androgynous quality of the object, in turn the chair through this interaction appears at moments weightless. It was important in this movement with the chair that the head and face remained hidden from the viewer. This now hybrid body can no longer be identified as only dancer or chair and as such questions the representation of both. The dancer without a face is as the dummy, an anonymous anybody as oppose to a particular somebody.
This side up. mso-ansi-language:EN-GB"> María Jerez. This Side Up looks for a place between architecture and choreography, confronting the different departure points that an architect and a choreographer face within a work, but from a common language. That is where the idea of working with the building comes from: THE THEATRE, as a shared language or a shared space. Foreshortened figure for Anxiety. Diana Coca. This artist is interested in the action-tensiontransformation, identity destruction and reconstruction, the symbiosis between photography, video and performance. They deal with human being alienation and anxiety, showing a system that does not work, in crisis. A savage capitalism which does not develop human capacities. A technologized society where humans are slaves of objects. A robotized society as in the films Blade Runner and Metropolis. This project is based on the book The Problem of Humanism in Erich Fromm and Herbert Marcuse by Diego Sabiote Navarro.
Retroaction/Sanatorium. mso-ansi-language:EN-GB">Toshihiro Komatsu. In 1997 wearable periscopes were produced as eyeglasses, designed to create the spectacle of new urban landscape and to show what was behind the wearer. Since 1988, I have been creating spatial works, which often depend on the physical space in which they are located. My installations are created as site specific and are composed not only by a group of objects displayed in the exhibition space but also by the entire environment (outside the museum). Some installations make visitors experience the surrounding art space and the outdoor environment.
Fluid Dynamics. New Understanding of Body and Space. M. Asunción Salgado. In recent decades there have been numerous spatial experiments aimed at exploring the exchange body and space. One of the precursors in the exploration of such changes was Paul McCarthy. By analysing two of his installations presented at the Whitney Museum, New York, and the work of Olafur Eliasson exhibited at the P. S. 1 of Queens, we are presented with the different approaches within the artistic community. In contrast with these proposals, Philippe Rahm will reveal more sophisticated forms of broaching these alterations from an architectural perspective.
Resisting Coercive Policies of the Body. 10.0pt;font-family:Arial;mso-ansi-language:EN-GB"> M. Elena Úbeda. A study of the contemporary artistic strategies that rebel against the coercive policies which, in accordance with an aesthetic of efficiency and an efficient economy of movement, regulate the body-gesture behaviour of the individual. The examples analysed offer resistance to the cultural regulation of the body in the identity construction of the subject. By recuperating the body as a space of freedom they dilute the network of categories searching for an effective body and a docile body indoctrinated in its daily tasks in its non-verbal relationship with society.
Walking Down the Wall, Dancing Stuck to the Ground: the Spatial Coordinates of Trisha Brown (Documents, Notations, Drawings). Gabriel Villota Toyos. The choreographic work of Trisha Brown has always started from an active awareness of the space in which it takes place, and has also provided an interesting reflection on how the body relates to the surrounding architecture. Working from the very physical limits of the body, some of Trisha Brown.s pieces search alliances with technique that allow us to transcend, symbolically but also materially, such limitations: something that other body artists like the kings of burlesque comedy or slapstick have already done in their time, always pushing the physical qualities to their limits as well as searching for the modes to overcome them in the alliance with technique.
Walking Through Invisible Architectures. 10.0pt;font-family:Arial;mso-ansi-language:EN-GB"> Victoria Pérez Royo. Here whilst we walk by Ciríaco and Sonnberger present two alternative concepts of architecture: on the one hand nomadic architecture, based not on the construction of lasting buildings, but on the symbolic transformation of already existing spaces; on the other hand it proposes an imminent and emerging construction of ephemeral spaces that do not respond to a previous town planning logic, but to an organic architecture that creates itself in a dialectic movement of mutual adaptation between environment and creator.
Against the Erosion of Gesture and Gaze. 10.0pt;font-family:Arial;mso-ansi-language:EN-GB"> Julie Perrin. The dance department of the university Paris 8 Saint-Denis and the National Superior School of Architecture of Paris Malaquais introduced, between 2005 and 2007, an interdisciplinary course. The stakes were to interrogate the body as a structure and the body in movement, or the space conceptions within each of the disciplines. The reflection developed across choreographic workshops in situ. This article recalls some of those experimentations and reflections, which lie at the crossroads of an approach of the body and architecture.
Architecture and Dance: Arrangements in Construction. Fabiana Dultra Britto and Paola Berenstein. The public space and the artistic experience make up two aspects of human life whose dynamics not only promotes the modes of articulation between the body and its living environments, but also results from them. Environment meaning not so much a place, but rather an assemblage of interactive conditions for the body, allows us to think of the university itself as an appropriate environment for the formulation and the experimentation of hypotheses and procedures likely to impart a new framework to the issue of the actual relations between the body and the city, namely from the desirable articulation between theory and art. The basis for this reflection will be our experience of teaching within the discipline of Urban Aesthetics, in the Programme of Post-Graduation in Visual Arts of the UFBA.
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