instead of performances
instead of representations
we do presentations
in a time when
actuality is temporary
how is the presence made present?
a possible answer: levitation
groundlessness,
light-ness
apparitions
and dis-appearances
the only way
up and down
is levitation
Situations about
levitation are created in complete darkness. These situations are only
visible for a split second, in the instant that a photo is taken with a
bright studio flash.
Then, the images that have just been photographed are projected on a blank screen and we photograph the projected images using the same bright studio flash. The bright light of the flash imposes itself over the light of the projection and erases the images capturing only the white screen.
Finally, this second set of photos with the blank screens is printed and the prints are given to the audience, inviting them to take those images as if blank pages, eventually remembering some of the situations erased, lying ‘within’, as a ghost and a souvenir.
Levitation is a potential of the photographic medium and that is demonstrated here through theatre. I wish to try levitation to engage with an aspect of our time: the aerial view, devoid of fundamental grounds, where things are suspended without origin.
I see this performance as a sequence of ‘documentation acts’, articulating my interest in presence and absence in the theatre, in memory and traces, in strategies of conceptual art and of making the invisible appear.
Then, the images that have just been photographed are projected on a blank screen and we photograph the projected images using the same bright studio flash. The bright light of the flash imposes itself over the light of the projection and erases the images capturing only the white screen.
Finally, this second set of photos with the blank screens is printed and the prints are given to the audience, inviting them to take those images as if blank pages, eventually remembering some of the situations erased, lying ‘within’, as a ghost and a souvenir.
Levitation is a potential of the photographic medium and that is demonstrated here through theatre. I wish to try levitation to engage with an aspect of our time: the aerial view, devoid of fundamental grounds, where things are suspended without origin.
I see this performance as a sequence of ‘documentation acts’, articulating my interest in presence and absence in the theatre, in memory and traces, in strategies of conceptual art and of making the invisible appear.
