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IOVIODIO Acid piece against
Premiere: 12 February 2010 - Melkweg Theatre, Amsterdam (NL)
IOVIODIO points the finger at the incapacity to take risks; IOVIODIO is against homogenized thoughts and emotions. That's why - with all the love we are capable of -
Credits:
Choreography: Gabriella Maiorino
Dancers: Simon Beyer-Pedersen, Valentina Campora, Or Hakim, Erin Harty, Ásgeir Helgi Magnússon, Fernando Balsera Pita Voice: Amos Ben-Tal Music: Rodolphe Coster Light Design: Claus den Hartog Rehearsal director: Cristina Planas Leitão Assistant to chreography and research: Marlene Vilhena Advisor: Simone Giacomini
Produced by: Danswerkplaats Amsterdam and Danslab, Den Haag. Financially supported by Danswerkplaats Amsterdam and Amsterdams Fonds voor de Kunst (AFK).
© 2010 - photo: Melanja Palitta IOVIODIO should be noisy. Constant noise, having no peace. No rest. The noise of being alive.” ____________________________________________________________________
*click on the image to view newsletter
Reflections on IOVIODIO’s informal research presentation on 8th November 2009 at Danslab (Den Haag) By Robert Steijn Dramaturge and Choreographer Explosive Mind – Relaxed Body Seeing the research of Gabriella, I fell in love with the beauty of an explosive mind in a relaxed body. An explosive mind is a mind that wants to bomb itself, that wants to stop looping itself in endless patterns of thoughts and feelings. I call these patterns the noise of everyday life. At a certain moment this noise can get so present in the mind, that the mind stops functioning, wants to give up, no more thinking, no more feeling and it explodes. A relaxed body is a body that has the capacity to release all its muscles. All the different body parts can rest in their own materiality, there is no ambition, no desire, just a peaceful state of being in the moment, passive and open, adaptive as water, towards any impulse from the mind inside, or from the world outside. Of course the mind and the body are always interconnected. We know that a noisy mind generates a hyper tensed body and a relaxed body connects with a silent mind, detached from the noise outside. But we don’t talk about daily life now, we talk about research and art. Here we are talking about skilled dancers who can give different tasks to their body and their mind. They can relax their body and give themselves a task to make a bomb of their minds. In this way, we can see how the explosion in the mind affects the body, violence emerges and disappears at the surface of the body in the same way a brick produces turbulence when you throw it in the water. First there is a big wave at the centre where the brick hit the water, and then this turbulence dissolves in circles of ripples, which dissolve in smaller ripples, which ultimately dissolve in a peaceful status quo again. I saw a lot of beauty in this. Dance is a training of the mind and the body. And when these two entities can be trained separated from each other for a while, the question emerges about with what we can identify. With the body or with the mind. And do we have a body, or are we the body. I have no answer to these questions. I only know that I often have the desire to bomb my mind, not my body. By Jack Gallagher Choreographer The Heat of the Moment Gabriela's research presentation is a challenging object for contemplation. It is not concerned per se with provocation or self castigation -the quasi masochistic sense of ‘loving the struggle’- nor a re-evaluation of one’s collective cultural baggage. To an extent her work does contain all of the above elements, however Gabriella does not reduce them to simple sound bites; neither for herself nor for us. We are confronted with a unique transparency; as if she were to say: Come, let us look together at this vast array of concepts which we may be able to re-interpret and re-frame. This transparency once again stresses the all important issue of artistic practice and the role of research which is fundamental to Danslab’s mission. Gabriela has a notorious capacity to be able to frame instantaneous composition. She is capable of engaging with the mechanisms of process in order make discoveries within the infinity of a designed space. She treads upon conceptual territory, yet refuses to be dominated by the idea of concept. We find her moved by the heat of the moment, where agitation continually morphs, stutters and shouts. Gabriela represents a strong and daring voice, which seems to have enough guts to fly in the face of modernity's fascination with pseudo transgression. In her work hedonism is stripped of its cultural dichotomy: any resistance is deemed futile as soon as it is recognized as resistance. Gabriela clearly articulates a central cultural context, namely: the commodity value of faux transgression. In this manner her work depends strongly upon a form of sensorial stimulation. The act of viewing is provoked and energized. One is pushed and pulled, left to one's own devices. This experience of agitation is invigorating.
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