a-symphony
a-symphony
a-symphony

Two characters in-similar and in-difference, one becoming the mirror of the other.

In the viewal field, the eyes become the centre of a certain angle view. They are the symmetrical part of a suggested centre but also the core of the perspective point as a frame.

How does the relation to the spatial divisions within a building, in public space and incorporation to the accumulation of time  structures key parts of narration for the perceiver?

Finding the centre within their physical presence in space and relating and co-existing, one being always in the visual field of the other.

Connecting through a thread of the camera lens signified the distance in measurement of space and marking the appearance of the total of the two in a frame.

In that way she is the viewer and my other self and vice versa, becoming a co-author by appearing in a live experience through the choice of movements and action.

'What do you see?'

Which are the points of perspective? Is there a narrative going on in front of your eyes because of you witnessing a situation?

Maria Lalou

 

 

Two performers that are the musical piece. Two performers that are the universe in its own.

Musical universe. I call it the spatialisation of music. There is no music, except for the one expressed in movement and non movement.

The gesture performed in space is a musical phrase. There is no other logic.

Symmetry as an important element of a musical phrase. The break of symmetry explained through the logic of the phrase.

The gestures of performers are of musical nature. They concentrate around the centre of the piece - the centre is empty, silent or filled with all possible sound pieces.

To treat architecture as a musical score. To move through the score. To treat architecture as a musical piece, to play the piece with the use of two performers.

Performers as instruments that reveal the nature of the piece.

Characters that are self-aware, self reflexive, the musical note that observes itself.

Characters which are the musical universe in its own, self-sustainable.

Always in relation.

Characters that need each other like notes and their reverberations, back and forth.

Anna Orlikowska

 

An interdependent relation between anti-symmetry and symphony. How does 'a space' relates to 'the event' ? What does rapture create between the parallel and the simultaneous. If gesture takes the space of sound composition then the body reacts to the function of 'a distance'. Symmetry for instance reflects the memory association of a symphony an interdependent relation that involves minimum two points in space. Working in the surround experience of a building site and an openness spectrum of a forest-park, the presence of bodies in space co-relate to the identity of a building and becomes an inspiring structural constrains of the composition. The geographical location as well as the history-chronicle of a building site, a square modernist form with the characteristics of the presence and absence of its glass structure became main parts in this first composition. It enabled our physical connection through the building site, seen as the fundament of a choreographic score within the existence of public; the performance role as the body in architecture.

a-symphony has been executed and recorded in June 2013 within the constellation of a live performance of two performers, two cameras, a modernist building 'het Glazen Huis' and the Amstel forest park in Amsterdam.

concept/realization: Maria Lalou / Anna Orlikowska           curated by Alice Smits for Zone2Source, 2013

a-symphony

θέατρο-theatro

OPERATED

[UN]FINISHED

a-symphony

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