Coreografia d’Arte 2012: investigating space

Coreografia d’Arte: from 24 to 30 november 2012

Le traduzioni dei testi in inglese sono di: Beatrice Pozzi e Valeria Fornara

Enliberté, Coreografia d’Arte 2009

Coreografia d’Arte, in its next edition – the third – investigates space.
Not just space as a choreographic, physical and conceptual element, intrinsic to the art of choreography and to art in general, but as a greater element: natural, day-to-day, psycho-physiologic, socio-cultural, civil, political and, above all, artistic.
Space as a question, and one that is still open, from which we build the research and creativity every kind of art and artistic activity is made of: painting, sculpture, photography, cinema, literature.
Space, body and power. This we want to investigate and research, from here we want to start.
The space of a theatrical scene is the space of a work of art, of a painting, of a block of stone, of a photographic or cinematographic lens. It is the perimeter of a conflict. Of the transfer of a limit. It is the space of the research of freedom.
The idea that spatiality is a formative activity  “because of it being an abstract structure that directs our attributions of sense” (Lotman andGreimas), too, is in on the same wavelength with the choreographic approach to a space that is also abstract, a space in which the levels of sense orient and define themselves also starting from use, investing – or not – the spatial articulation with meanings and/or  values that can be different from the ones that are purely functional and built on the relationship with movement.
It is on the same wavelength with Coreografia d’Arte will to face the investigation, the research, precisely as a laboratory of ideas, signifieds and signifiers.

Enliberté, Coreografia d’Arte 2009

In the plurality of meanings we may refer to in dancing and in art in general when we talk about space (the space of the single dancer, the one of the dancers as a whole, the choreographic/theatrical space and the space/environment in which the performance is set), we want to become immersed in the other shapes that spatiality can adopt, not only in respect to the outside of the body, but also to the inside.
We would like dancing and art to compare with the series of virtual spaces proposed by technologies – IT and not – and new media, not as a medium with which to open a dialogue and interact, but as supports that, according to the concepts that are peculiar to the screen, have probably erased the corporeity and the physical aspects of relationships, and the physical space of relationships, of whishes, actions, thoughts, dialogue. Has the body changed through these supports and virtual spaces? How much? How much can this transformation have erased, together with the body and its space, the space of the “self”?
And there is more. Dancing becomes writing. Does it become capable of a real “engraving”, on a statuesque ground? We are before a space that, giving shape and being given shape in return, acquires so much  concreteness and density  that it cannot assume the form of an “empty space” anymore (Peter Brook, The Empty Space, 1968).
Space represents a dynamic force in the contemporary conflict about meaning, belonging and power. Jody Berland, Space 2005.
Let’s become immersed in this analysis and research.

He doesen’t love, Riki Bonsignore, Coreografia d’Arte 2009

Martin Heidegger, in his text  “Art and Space”, identifies space as a “primitive” phenomenon, which also provokes a sort of “fear”. It presents itself as the limit, as what one cannot go beyond: a challenge to language and to thinking. The notion of space has an evocative power, it makes other concepts come to mind: the concept of making free, of creating a void in which something can happen, of an event. And the true in art, according to Heidegger, is not an experience that asserts itself over man as the evidence of objects does, it is a more delicateencounter, more connected  to atmosphere than to presence: a concurring and convening of occasions. The German philosopher sees in the work of art the opening of truths. Art itself brings in categories of comprehension, conceptual principles, definitions which orientate existence.
That is why art comes before truth: because, by founding a certain language, by defining a certain horizon, it is the origin of truth. To Heidegger, moreover, art is involved in a direct confrontation with space. As is quoted in his book, “the way in which space holds up and passes through the work of art remains, for the moment, in the undetermined.”. The title originally chosen by Heidegger itself, “Space, man, language”, connects  art and language together in an unconventional way.
And it is in an unconventional way that Coreografia d’Arte wants to investigate and connect art, choreography, dancing, language, space, body and power.
Books, essays, manuals still write about choreographic composition as the art of choreography in space, the art of writing dancing into space.

Naburi, Coreografia d’Arte 2009