TO SEE WITH YOUR/MY HAND, is the expression of performance, as an hybrid medium between action and communication. I usually start by making objects with found/recycled/or poor materials (such as rope, jute, cardboard or old clothes). I consider those objects as sculptures that have to be activated by people. Through people's participation (and activation of those objects) I create situations which allow me to explore the potential of performance.
In creating those situations what interests me is the energy that stems from those collective actions: an energy that can stay eventually with people also after the action’s end. Since my first important work during the art academy - the Functional face objects, bodily movements and the physical participation of the people are very important factors: my works exist indeed thanks to corporeal participation. I also believe that my works create the conditions for such a movement (bodily interaction and physical gestures) to be showed/seen in its becoming. A few years ago, while I was researching through architectures books in an art accademy library, I was struck by an image I found within an art catalogue: the image was titled "Biological architecture" 1) I started wondering what I was seeing. What was in that picture? a performance, an action a movement, a sculpture, a collective action, what was I actually seeing?
From those questions and doubts I started my investigation into Lygia Clark's work, and particularly in the work she did during her lessons in Paris (Sorbonne) where she ran for 5 year, a class course entitled " the gesture and the communication" .
In my recent research I explore the different gestures, techniques, rituals, and beliefs regarding the therapeutic functions that are related to far removed geographically but culturally near contexts, such as Italy’s deep South and South America.
I’m tracing stories and testimonies of phenomena related to old beliefs that are unlikely to have had the honour of the historical record, that have offered important insights for a new direction of studies: semi-invisible phenomena, hidden and marginal, but actually very present in the social and cultural behaviour of the past, as a field of relationships and experiences between body and spirit.
Through Sur les traces the Lygia Clark, the film recently selected at the Turin Film Festival, I’m trying to investigate on the traces of the Gesture and communication course, by the Brazilian artist active at the Sorbonne in Paris between 1970 and '75. I wanted to give voice to the participants, the real protagonists, who are the key to interpretation necessary to approach and understand a historical and political period, so distant, problematic and utopian - when the student protests and political group extremists reached a different awareness… I’m trying to reconstruct a set of personal memories that are not what it does get written by the artist, nor by those who had the experience, neither by critics and art scholars which read the artist's work and write about it.
In my art practice I am interested in arousing and exploring the potential that the medium of performance, as a hybrid means somewhere between action and communication, puts in place. The characteristics of unpredictability and uncertainty, and the emotional intensity allow the performance to acquire almost a life of its own.
I call my performances temporary and mobile theatres’, where the distance prospective between the viewer and who acts, among the things in their moment of inertia and the time necessary to reach equilibrium, is an image that is formed and dissolved.
The actions come from my sculptures and objects, which are in turn then animated
In Tapis à porter (2008/09), as you can see on the video, the starting point was to revisit the idea of nomadic light architecture, such as tents and yurts, creating three large carpets which, acted by performers, become a sculptural presence; the actions of this performance followed gestures and choreographies that became "concrete metaphor of the idea of territory as well as a symbol of the journey of transition and nomadism", something that you can dress, that is used as protection and as a lightweight temporary construction.
I’m interested in the energy that is formed after collective action - in its making - more than a simple aesthetic result - an end in itself.
The work always requires corporeal participation in order to be made, in that respect I show that characteristic in its becoming.
The body of the dancers, then, in 'bringing' the work, wearing it, getting into it, going along, dancing and walking close by, do activate the expressive potential of its structure that rejects a final form, forever fixed in an immovable fact, something that does not allow changes.
In my work I enter the scene by placing and moving those items on the body of the dancers or the performers that, with rhythmical gestures, let them fall resetting the scene, which then comes together time and again with other movements and other figures.
Paola Anziché, 2012