Vanitas - Who takes away what is danced



The objective of this research is to develop a creation process that results in VANITAS, a DOUBLE DEVICE: Installation-Scene. The allegory of death will be taken as a source of inspiration. "Vanity of vanities, all is vanity," Solomon in Ecclesiastes 1: 2.

VANITAS-WHO TAKES AWAY WHAT IS DANCED appears as a need for search having gone through half of our lives, past 40 years.

VANITAS is somehow feeling the perfume of the flowers and the rottenness of the water in the vase, is savoring the beauty of life and feeling the inexorable advance that brings us closer to the end, it is with Eros and Thanatos simultaneously.

VANITAS develops a double device: Installation-Scene that reveals two faces of the same situation.

On the other hand, Vanitas raises the possibility of constructing a theoretical-practical investigation from the scene, Investigation based on the IAE-Faculty of Philosophy and Letters. It is about overcoming the divisions that may exist between praxis and theory and imagining a process of dynamic dramaturgy in which those two poles feed each other. We do not propose a theoretical investigation prior to the work of the scene, nor the elaboration of lines of analysis from a finished work. Our interest is to listen to the questions that arise from the aesthetic process and feed some of the debates of dance and performance studies from the matter produced in creative work.

On the other hand, Vanitas raises the possibility of constructing a theoretical-practical investigation from the scene, Investigation based on the IAE-Faculty of Philosophy and Letters. It is about overcoming the divisions that may exist between praxis and theory and imagining a process of dynamic dramaturgy in which those two poles feed each other. We do not propose a theoretical investigation prior to the work of the scene, nor the elaboration of lines of analysis from a finished work. Our interest is to listen to the questions that arise from the aesthetic process and feed some of the debates of dance and performance studies from the matter produced in creative work.

“Vanitas-Prueba1/ LHOOQ", texto curatorial por Ceres Gonzalez
Concepto e interpretacion: Agustina Sario, Matthieu Perpoint
Plano sonoro: Demian Velazco Rocherwerger
Plano plástico: Leando Egido.

Interpelados por la conceptualización del cuerpo como un territorio de entrecruzamientos, donde lo biológico, lo pulsional, lo social y, sin duda, lo cultural crean un campo de construcción, Agustina Sario y Matthieu Perpoint proponen un cuerpo como testigo y soporte que se inserta en un planteamiento performatico.

Gestos cotidianos y una práctica interna, revalorizan lo que sucede en escena. Un cuerpo, objetos, materiales simples y un sinfín de acciones cronometradas, que implican la interacción de un otro, se inscriben en una narrativa que funciona como un giño a la historia del arte, sus ready-made y el género de las vanitas.

Los planos plásticos y sonoros se retroalimentan en un dispositivo que resiste, tiene su desarrollo, ruptura y final. Se despliegan imaginarios donde las acciones físicas permiten el acceso del interprete a nuevos planteamientos; mientras el espectador, seducido por el poder de la imagen, se introduce en una experiencia testigo de un encuentro privado que se hace público en la virtualidad.

“Vanitas-Prueba1/ LHOOQ", es un ensayo que se desprende de una línea de indagación y materializa la posibilidad de expandir los nuevos horizontes de visualización.
Ceres Gonzalez.

CREDITS
Directed and performed Agustina Sario/Matthieu Perpoint
Lighting Adrián Grimozzi
Stage Design Leandro Egido
Music Creation Demian Velazco Rochwerger/Matthieu Perpoint
Video Joa Wall
Aesthetic Assistance. Fabiana Barreda/Andrea Saltzman
Sound Federico Spinelli