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Which clippings match 'Constructing Space' keyword pg.1 of 1
29 APRIL 2013

Colourful cut-out card illustrations by Eiko Ojala

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CONTRIBUTOR

Simon Perkins
18 DECEMBER 2012

Verknipte tijden / Distorted times

Fig.1 Gideon van der Stelt (2012). "Verknipte tijden / Distorted times", collage of existing film fragments, released into my paper–folded version of Utrecht. Shot on a 7D and processed in After Effects.

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CONTRIBUTOR

Andy Love
26 MARCH 2011

Pina Bausch: dance, dance otherwise we are lost

"There are deep noises of gallops. The brown earth covering the floor reveals hundreds of tracks of wild animals in stampede. But instead, it is a set of dancers what appears on scene. Their presence is heavily felt through their turbulent footprints. The Rite of Spring is one of Pina Bausch's most celebrated choreographic pieces, included in the homage documentary PINA that Wim Wenders has just presented. A movie about the sign that her teachings on performative space left before her death in 2009: the Dance Theatre genre.

In her choreographies, earth is heavy. Flying dust materializes air. The void weighs. Water drops densify the emptiness. Living bodies become inert corpses. A closed–eyed dancer lets her mass fall down until the trust on her partner saves her from a mortal knock. Hands and feet become detachable prosthesis. The lightness of matter clashes over the presence of the ephemeral. Optical illusions...

In Choreographed Environments, Eva Pérez de Vega points out that 'considering immaterial effects in the production of a material practice, is not at all about ignoring the material per se. It refers more to the conception of a material production. It is about thinking how to make immaterial notions material; ultimately it is about creating material effects. [...] Architecture no longer consists of making building and Dance no longer consists of making dances. The hope is that as dancers continue to explore new territories as managers of space, architects too can conceive of space as managers of movement' (Eva Pérez de Vega, 2007, p.7).

For the movie, many pieces were performed again in unusual urban settings, such as inside and underneath Wuppertal's retrofuturistic sky–train, or inside other recent architectural iconic references (easy to guess!). Pina Bausch pioneered a strong performative approach to architecture and Wenders has made her pupils revive its immateriality in cult buildings for posterity: a clear effort to transmit Pina's philosophy of movement constructing space. Bravo!"

(via Daniel Fernández Pascual, Deconcrete, 16 February 2011)

1,2). Wim Wenders (2011). 'Pina', Germany.
3). Eva Pérez de Vega (2007). 'Choreographed Environments. A Performative Approach to Architecture', New York.

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TAGS

20092011architecture • choreographed environments • choreographer • choreographyconstructing spacedancedance theatredancerdocumentaryephemera • Eva Perez de Vega • figures in spacehomage • homo ludens • immateriality • invisible cities • making building • making dances • managers of space • material effectsmaterial practicematerial productionmovement • new territories • performative approach • performative space • philosophy of movement • Pina Bausch • pioneeringposterityprosthesisretro-futuristic • Rite of Spring • sky-train • spacetableau vivant • unusual urban settings • urbanism • Wim Wenders • Wuppertal Schwebebahn

CONTRIBUTOR

Simon Perkins
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