The scenic space of ZYG aims to be more than the container of a performative experience. It is clear that we intend to create a feeling of "entering another space" but the root is the idea of "installation" and therefore the space itself needs to affirm the concept, needs to reflect the ideas and be itself a work of art, original, playful, organic, emanating naturally from the roots of ideas that will also nurture the sound and movement components of the experience (affect, communication, proximity) and establishing clearly a sense of "poetics of the space", in other words, a rupture with possibilities that are offered by daily/commercial options. This does not mean that we should not look at already available solutions (and there are many) to define spaces (from inflatables to tents). They can provide us clues and technical solutions but the core of our effort is the creation of something that in itself is an artistic experience.
The word "organic" seems to cross our conversations very often, it is surely a direction to follow and certainly is reflected on the choice of examples that have been posted in this blog (with a strong emphasis of Ernesto Neto´s work). What is, then, "organic" in these examples? Neto´s work seems to evoque some shapes that we have seen in bodies and biological systems. It makes us feel that we are in the presence of "living structures", even if we are totally sure, at the same time, that they are not. This "conflict" or "contradiction" catalyses our imagination, makes us to "leave" the daily experience of the space and materials and create many personal universes. Because it is not representative or figurative it leaves many options for the spectator. It is abstract, but at the same time it has connections to shapes that we have seen (even if we don´t remember that) or we feel that we have. Somehow it connects to the perception or notion of our own bodies. The fact that it offers scales that do not exist in the real world allows again the imagination to trigger many journeys. "The geometry of nature is not euclidean" and Neto´s work seems to say that all time. Round shapes, a sense of symmetry but at lot of space for the symmetrical parts to have their own individuality. The choice of materials (lycra) not only evoques the idea of expansion/retraction, growth, adaptation, "shape ability" but also gives us a sense of "soft", even if we don´t touch it. The feeling of Soft is nice and pleasant.
Another away of being "organic" has to do with the feeling of "movement" that seems to emanate from sculptures and installations that I posted in this bog (not only Neto´s). Movement is strongly connect with life and certain shapes seem that were "made by movement" and even cause the feeling of being "transitory", i.e., the seem like they are just a possibility between many others and we have the feeling that the forces that created that configuration could next create something else. In other words they make us think of "narratives". Some other times the feeling of movement is what we get when we turn our eyes to the object as if we were a camera and follow the surface as if it was a journey on sand dunes, mountains or waves. The possibility to "travel with the eyes" and have almost a physical sensation of height, in/out is quite clear in some of the images, even if we are talking about photos.
When discussing the idea of "movement" yesterday MF talked about the possibility of introducing it at a different level, i.e., by making the components that define the space (lets call it surfaces) to acquire different shapes and the space, as a whole, undergo through metamorphosis. Our previous work with the Robotic Gamellan at Casa da Música led us to deal with some solenoide motors and electronics that could allow us to control stretchable materials such as lycra.
The question of light and sound are also intrinsically related with our pursue of organicity. In an ideal situation the space (an object or set of objects) would emanate sound and light, i.e., we would find solutions to embed loudspeakers and lamps/projectores in the scenic artefact(s).
One very interesting question has to do with the definition of space in its relation with the audience. The space could be: a) collective (in other words, a physical artefact that would accommodate all the audience (6 babies + 6 carers in the case of sessions with families; 9 babies + 3 carers in the case of sessions with schools), or b) the sum of "individual spaces", i.e., spaces that would accommodate diades in the case of families; not so sure in the case of schools. These two possibilities are really very different, not only in artistic terms but also human/relational and they would mean very different things in terms of the dynamics of the interaction/performance. In extremes we are talking about a BBPP, ALBB, TR situation as opposed to a set of "cocoons" (whatever they are, in the photos there is a example, other ideas include "suspended chairs" techniques. We will keep this open and try to work in both directions for the time being.
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