Marie Chouinards sexually accused introduction program insures dancers locked up like zoo animals then released, while Vladimir Putin is razzed with flogs and made to dance with a Nubian Queen
A naked female perforates her body repeatedly against a wall, her face obscured by the dark drop of whisker reporting her face. A pale, serious youth dances a solitary path through a army of spectators, his limbs drifting, warping and fastening to low-level electronic music. A middle-aged soldier in a knitted cap and lifeguards jacket wipes the floor, talking all the while about the suggest to purify his life.
There is nothing new about visual skill that blurs into performance, or dance that verges on installing, but at Venice this year issues of categories feels interestingly loaded. Daina Ashbees Unrelated and Benot Lachambres Lifeguard are the first and third happenings described above, yet while they feature in the programme that has been put together by the dance biennales new artistic chairman, Marie Chouinard, neither effort espouses traditional different modes of choreography. The dreamy street-dance solo, meanwhile, comes from Anne Imhofs Faust, a five-hour event that is drawing “the worlds largest” gathering at the skill biennale and whose speech is heavily predicated on dance.
The agency of the body is a key topic of Faust, often because its cast are forced into situations of unsettling passivity. Imhof has transformed the interior of the German pavilion into glass chambers within which private individuals or a small number of musicians are restricted. As we step past or even above them, we have been able to observe these young men and women engaged in their own variously stolid, hostile or sex pleasures, as if they were laboratory specimens or animals in a zoo.
Those glass walls and ceilings start to feel like an absolute divide, turning us into voyeurs and the musicians into objectives even when theyre exhibiting signals of warning action. It comes as a scandalizing reversal of capability when the performers are periodically let out of their cadres and allowed to dance among us, taking abrupt dictation of the opening and asserting their primacy over our clumsy, self-conscious bodies.
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