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by Victoria D'HERS

Note of intent

The following is a note of intent written by Victoria D'HERS, who applied for the open call for artists 2017. Once we called Victoria, we asked if we allowed to publish its notice of intent as it seemed to us very interesting place from which we intended to work and why to locate in that place. Victoria agreed that we do and asked us to add different artists and groups of artists with whom he worked and experienced the creative process which we spoke and which was based note.

Note of intent:

In group I settle for work from the Improvisation / Composition real time. We asked for the ability to compose and operate, decided and implemented at the same time.

How to work and found, What state must be generated to promote this meeting within the language of improvisation. And how to feed what happens.

Several years ago we settle NDR-No Rights Reserved. Collective Improvisation with Maria Pia Rillo, Marie Bardet, Marina Tampini, with those who practice and research also became a way of training. In addition to investigating, conducted a clinic Improvisation in Mar del Plata (along with Cristina Ribas, 2015-16), with tracking creative processes 10 artists.

Plus, It emerged O'Bomb– group of artistic experimentation interdisciplinary, with Paul Monteys on saxophones, Sebastian Zanetto piano, Juan Miceli visual.

With each group I'm finding a particular dynamic, specific, and permanent transformation, we birth a way to find and research. Building on these particular ways, the objectives in the line of these spaces are exploring the possibilities of working from improvisation on stage, in different languages: dance, music, visual and interactive video art; inquire into the intersection between dance / movement, music (and the bodies of the musicians on stage also) and opening visual worlds through projections both in space and in the bodies that inhabit; enhance the openings to the unexpected at the scene, as to what uncalculated /incalculable previously; visualize the possibilities of improvisation as a valid aesthetic product within the contemporary scene.

Specific, believing that we make decisions, we sense that everything is decided by a force that exceeds us. The decision is to put the body. Along these lines, my personal work Aboca to work the connection: that sense of connection and brought online multiple levels of reality a movement, as vital as fleeting.

At times I work with musicians and visual artist, I look constantly be on my own and not do one. Necessarily I connect with them and all of what we create on stage, and while I look for new ways to dance with them, "Not dance".

We danced all. How, from where to find us ...

Then, these questions spanning always intersect with the search for an opening to what IS. Do not generate something, not produce, but to make possible what is already being. Starting from a manipulative intent, travel in the sense of the ability to improvise without "handle" that happening. Explore what interests me, What sustains me in that moment by moment within a scene, and a point (central) trust all.

And in line with what is proposed for Creativity in Motion, I believe that the practice of improvisation as a way to create spaces for art and especially in connection with what surrounds us, It has a unique strength.

The "state of improvisation" I train (and I practice with groups that I share these investigations) It appears to me as central to today, characterized by deepening alienation and individualization / fragmentation of experiences.

Rate this form of collective creation supported by the subtlety and empathy has, Finally, a deep political meaning.

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