Research: Eliko moves and suspends between plastic plates. Moss-swings, passepartout underlay for organic material and the skin as intimate surface. Eliko‘s partner joins the session, lifts and swings her gently for hours in the air.
Meanwhile woollen clouds are falling apart. One looks like Falkor from the Never Ending Story, maybe after the Japanese luck dragon Fuku Ryū.
Model: Eliko
Fotos: Werner Amann
Support: Iman.rhv
Space concept + ropes: Dasniya Sommer
Some thoughts trying to connect different levels of a research and questions on how the space would be shared with sound and performance. During Open Studio weekend at Uferhallen one guest asked if the contrast of the material has specific meaning. Others saw references to the Czech/Slovak feminist female artist Anna/Anča Daučíková.
To star with I was mainly inspired by the bright, oversize Dojo of the BJJ championship in Crete I saw last autumn.
Or is it a colourful chessboard? A dojo as place of learning, or a chessboard as place to play against each other? Speaking with a sound person they wondered if the geometric plates is a visual arrangement of music? Is there a correlation between the coloured areas and a performers physical impact on the material, for example a extra boxing dummy? And is the boxing dummy recognisable as such, or is it stuffed with sheep‘s wool into an amorphous structure that eventually bursts open, revealing soft wool?
Do the squares represent tonal sound diagrams, or are they simply colored dojo mats depicting a non-hierarchical space? Do the panels in the primary colors need to be complemented with intermediate/pastel tones? Is the wooden ladder part of the space and does it suggest something about the process-oriented, unfinished nature of the work, which is what research always is? Not a finished piece, but a step/phase in the creative process.