Friday, May 16, 2014

air balloon

The words in themselves already have some rounded fanstasy, if we breath to the "aaair ballooon" and its song as it navigates...when I found myself underneath sunrise in between the earth...I felt again a child-like surprise, an excitement almost forgotten! This was one very special morning almost two years ago!

El Ultimo Hielero

Un docu hermoso:


Kazuo Ohno

"I would love to offer you even something as tiny as a grain of sand. If only I could succeed in doing that, then I might fulfill my longing to share a part of my life with you. Isn't it worth risking one's life to offer something as microscopic as that tiny single grain of sand chosen from amongst countless millions?  Take great care at all times. Even the most infinitesimal detail of the slightest gesture you make should be executed with loving care.
It's never too late to start. "

Ken Price

Tuesday, March 18, 2014

PRIMITIVE- LYNX, une femme hors du temps

This film is beautiful and inspiring. 
A reminder of our primitive selves, something that lies dormant in most of us. 

Tuesday, February 4, 2014

Art and the Body

Art and the Body
essay by Lee Ufan (excerpt)

"The body mediates between the inside and the outside, and can arouse us to the possibility of a more open situation. There is mutual cooperation between consciousness and the body, but they are not identical. The body is more strongly connected to the greater world than consciousness. The body is part of the outside world. 
Therefore, human beings can know the outside world and experience transcendence by taking advantage of the existence of the body and the role it plays. This is the reason that I am so concerned about the body. 
In order to join the body and consciousness at a high level, I highlight this ambiguity and always do my best to act physically. I make art by performing repeated actions with the body, thus bringing about transformations and changes in my ideas and increasing the depth and expansiveness of the work. My personal capacity may be only 10, but it is magnified to 20 or 30 by the operation of the body in relation to the outside world. It is only through the existence of my body that I can make a work of art that transcends my self. As more externality is incorporated, transparency fades, the unknown appears, and the work becomes richer in content and allusion. 

The body and consciousness are sometimes in conflict and sometimes in accord. This leads to divergence in the process of making. The work takes on otherness as externality penetrates it via the body. An even more important aspect of employing the body is the fact that art-making is a site of encounter with externality. Experience is contact with the outside world, through which one can sense infinity. Making art is truly living, and touching infinity, through physical action." 

Friday, January 10, 2014

time spiral….and suddenly a new year…

The transition from 2013 to 2014 brought a whole questioning of how I handle time, pace…what's my pace, how is my emotional time interacting with practical time and social time and the oniric time in relation to "palpable" time…would it ever/never be palpable. 


  "Kazuo's fundamental, or what I would call intuitive, approach to live performance doesn't entail that he simply steps out onto the stage and starts improvising on the spur of the moment. There's a lot more to it than that; it's not simply a matter of anything goes." He doesn't discard an entire life's experiences, or all the knowledge and craft involved in the making of a performance. On one level he remains very conscious of where he is and what he is doing. And yet he attains a level of consciousness that allows him to forget the self. This spontaneous approach frees him from certain strictures-such as a rigid choreography-and, what's more, enables him to flow with all that surges forth from his interior life. 
   Kazuo's dance gives birth to a fluid sequence of spontaneous images; it's as though he's carried on wave after wave of subjective impulses. Prominent among the many landscapes and moods evoked are those he discovers in the recesses of his subconscious memory through his writings. While he's perfectly aware of the fact of that he's onstage, and of the ensuing in-built limitations of a performance's framework, he nonetheless freely interacts with the universe he creates. His creative output exemplifies a working method in which cognitive control is closely allied with an intuitive process. i've often been struck by the fact that it's only when mind and body freely interact that Kazuo truly dances. His dance becomes lifeless as soon as he's caught up in thinking about how to move or is dictated to by habit. "
Excerpt from -kazuo ohno's world, from without and within-

Kazuo Ohno