Marie Chouinards sexually accused debut programme encounters dancers locked up like zoo animals then released, while Vladimir Putin is taunted with whips and made to dance with a Nubian Queen
A naked maiden perforates her body frequently against a wall, her showing obscured by the dark drop-off of hair embracing her face. A pallid, serious boy dances a solitary route through a audience of observers, his limbs waft, warping and buckling to low-level electronic music. A middle-aged soldier in a knitted cap and lifeguards coat cleans the flooring, talking all the while about the insist to purge his life.
There is nothing brand-new about visual art that blurs into performance, or dance that verges on facility, but at Venice this year the question of categories feels interestingly loaded. Daina Ashbees Unrelated and Benot Lachambres Lifeguard are the first and third contests described above, hitherto while they feature in the programs that has been put together by the dance biennales brand-new aesthetic chairman, Marie Chouinard, neither job hugs traditional modes of choreography. The languorous street-dance solo, meanwhile, comes from Anne Imhofs Faust, a five-hour happening that is gleaning the largest gang at the prowes biennale and whose communication is heavily predicated on dance.
The agency of the body is a key theme of Faust, often because its cast are forced into situations of unsettling passivity. Imhof has changed the interior of the German pavilion into glass chambers within which private individuals or a small number of performers are restricted. As we stroll past or even above them, we can observe these young men and women engaged in their own variously stolid, unfriendly or sexual tasks, as if they were laboratory specimen or swine in a zoo.
Those glass walls and ceilings start to feel like an absolute subdivide, turning us into voyeurs and the performers into objects even when theyre exhibiting signeds of peril behaviour. It comes as a sickening reversal of dominance when the performers are sporadically let out of their cadres and allowed to dance among us, taking abrupt authority of the room and saying their supremacy over our tricky, self-conscious bodies.
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