performance - Paola Lopreiato

Paola Lopreiato

art-music-technology

Il giardino della mente

By Paola Lopreiato

multimedia performance

year: 2009

Dutation: 30'

And he and I, perplex us

If positive ‘twere we

Or bore the Graden in the Brain

This curiosity.

“The Garden in the Brain” is a definition of a visionare space wich continuously overlaps with reality.

“Garden” means a mental space, a theatre open to incessant mutations. Time and places in wich the Artist begin investigation on her self, are not causal. The garden, which is a real and external, attached to the word mind, which is something interior, share the same quality: mean, in fact, a limit, aboundary and, simultaneously, the transit between two places and two times, contact between the two dimensions of the outside and the inside, what is and what is not yet. Proceed in the performance, listening and watching, is like walking in a bilding. One room after another we find more and other items already viewed, items you do not understand the use of, or we do not know the function. The rooms are open to broad perspectives, real or fake, to a whole vision or a detailed vision. There are many repetitions, memory is always stimulated by similarities but also by strangeness. At the and of this journey you maybe do not have a consciousness of wich was the plan of the bilding, similar to a labirint, not even wich was exactly the destination. The main thing that ramains is the perception of a feeling. This is the meaning of “the Graden in the Brain” , this is its content. This performance is not a

narration of facts and is not even a desciption of abstracts things; is rather a word of “essences”, is a world of living things and a world of things that come to life.

I - INTRODUCTION

The garden in the brain is an dreamy scenario that opens the power of imagination that transforms the exact contours of the objects, the natural fact, in visionare principle .

With rapid waste of image you create new relationships between objects, between the natural and human, between the real and the visionary. The exact contours of the objects are processed by a second view, similar to a childlike and dreamy one, which, like a lens of miraculous power, transforms the natural data into a visionary principle. Trees, flowers, animals, sea, sky, roads, houses, are presented with no narrative purpose but to upset, t establish new relationships between land, water, air. The house opens to the vertigo of space wich color it, drawing fabulous geographies. The cavity of the home not only welcome but are mixed with the space outside, pouring it into their domestic space. Trajectories and the paths, that the projections trace on the surfaces of the room, lead our eyes to “the garden in the brain” and thoughts to the branching history of our interior space. Fragments of objects and nature are mixed: slabs of marble with plaque of cement , plants with sea, sky with stone, meadows with shells, fragments that are mixed on the furniture or on walls. Complete Landscape, who died in his integrity and divorced from its original context, finds life in micro compositions around the room, in beds where the narrow sense of the places is renewed and original meanings are often confused with other, distant in time and real space but neighbors in the game and dreamlike fantasy that regulates the succession of forms and ideas in art.

II - COMMUNICABILITY

Nature is a bewitched house - but art

It is a house that tries to be bewitched.

The main feature then, is the communicability: the house opens to the outside and let nature penetrate inside it. The vastness and variety of shapes and colors of nature are mixed in one container to lose the original connotations, among them integrating quality and characteristics. The interior is a huge broken glass that reflects tensione and integrity.the garden in the brain is a kind of reinterpretation of the role of the mythical Orpheus - who, playing the lyre, knew how to sweeten men, tame the beasts, hang the

trees and drag stones. All this is to say, by means of multimedia composition, to give order to natural chaos, to give shape to shapeless, to give an architecture to matter. The performance is not a narration of facts or the opposite of a description of abstracts things, is rather a world of "essences" that is a world of living things and things that come to life: What is not visible is divine, what is not perceptible is dramatized: a shekespeariana Féerie like A dream of A Midsummer Night's, being held under a blade of grass; the oceans burst in heaven. The world of nature, as well as the inner world of man, is a matter of unconventional observation.

III - POLARITY

In this work there are often alignments and subsequent lag, approaches and distances between the music, images and performer, almost as if they (music, images and performer) study each other to find connections or discrepancies. This performance is built in part on these coincidences and

discrepancies. The meaning of the "garden in the brain" is perhaps this: the space and the play of contrasts and correspondences in the condensed space. The assembly of the space, the construction of the garden in the brain, with its fantasy and reality with all its contradictions, but at the same time

dismantling the assembly, in producing a feeling of mystery and incomprehensible. Pathways of the music contribute to this feeling, and also the visual pathways and gestures of a performer having moments of alignment and assignments, through missed connections, subjective out of phase, repetitions and contradictions. In linearity there are some slots to create a kind of vertigo. The discontinuity in the thought expressed, in the texture of things, in gestures,in sounds or words is due to the difficulty in describing the unbridgeable difference between the polarities: concrete / abstract, finite / infinite, fantasy / reality, mortal / immortal, light / sound, ephemeral / eternal, uniform / multiforme. Multicolored visions contrast with moments of dark or white light: the whiteness of the election, blindness, the intangible ingredient. The difference produced by the sound corresponds to an inner difference produced by the light; the fixed gesture corresponds to split images; the gesture follows the sound, other times the silence. The performer moves from one situation to another by vague analogies and obscure reflections. The relationship between these situations, among the different parts of the composition, including gestures, pictures and sounds, are marked by furtive caress, uncertain matches, consonances and dissonances.

IV - THE ARCHITECTURE OF THE COMPOSITION

The multimedia performance is divided into chapters, etymologically correct definition in the sense that each part corresponds to a caput, a person or thing that speaks, performing an action that communicates the scene. But these sections do not obey the traditional function to scan the story according to the principle of gradual evolution and synthesis of the characters or events but is rather a collection of monologues that correspond to different sides of a prism. A structure that indicates

instrumental anxiety, emphasizing the loneliness of the character (or item) that moves and lives on the scene, whose voice remains sealed in the blank pages which divide the chapters, sealed among the pauses and silences that separate the sections. The voice of the performer and composer is filtered by the quotes that, as an antiphon, anticipate

hearing and vision of the composition. Space and the time in wich the investigation that the artist carries within himself are not random. The garden, which is a real and external, attached to the word mind, which is something interior, share the same quality: mean, in fact, a limit, a boundary and, simultaneously, the transit between two places and two times, contact between the two dimensions of the outside and the inside, what is and what is not yet. [...] The addition of which is fraught the here and now. A space-time connection, a cronòtopo, which assumes a strong symbolic significance suggesting that the processes of understanding will unravel if we take the perspective not of the center of a cultural system, but its borders, its lanes, its points of transition [ ...] Figures, events and places emerge from the surfaces of the room and are present in accordance with a complex and intricate sequencing. The times and places overlap and intertwine. The composition is set in motion by a fundamental question: I saw it really or was happening only in my mind? See, then, is the key word of the composition, which is closely associated with the feeling, almost like an hendiadys; and see and hear are united in an effort to communicate the experience. The music alone is not enough, as well as the image and the gesture, describing one of the fundamental elements of this composition: The multidimensional and plural singularity that each human being dwells.

Umori Mediterranei