Futurocity: Drawing in the Cities of Tomorrow

InterUrban Interventions (2008-present) Bauhaus, Germany; Treignac, France (2010); Queenstown, Singapore (2009); Museu Brasileiro da Escultura (2012); Sao Paulo, Brazil (2013)

Posted in Uncategorized by roundladder on April 10, 2013

bauhaus1

This blog explores artistic interventions in public spaces worldwide by New York-based visual artist, Les Joynes, PhD and FormLAB (http://www.formlaboratory.com).

The project begins with a project with the Bauhaus that explores dance, audience and public space.”Multi-spatial Performance: at Bauhaus-Dessau Installation performance Record Dances Massnahme 01 (Measures Taken 01)  (authored by Les Joynes, October 17, 2008)…..

“Imagine a Mondrian painting coming alive where you as observer become part of the work.

Contemporary dance performers from four countries converged on the historic Bauhaus Theater in Dessau to perform Record Dances Massnahme 01 (Measures Taken 01) on October 17 2008: in a performance organized by the Bauhaus Stage at the Bauhaus Foundation, Dessau.

photo: Sebastian Gündel
photo: Sebastian Gündel

In this 90-minute spectacle the performers engaged in experimental dance energized by spatial exploration tracing the structural elements and the “object tonalities” with hands, bodies, light and objects that mimic, and symbolize the historic structure designed by architect Walter Gropius and Dessau 1925-26.

The Bauhaus-Dessau is home of some of the most important architectural styles of the 20th century. The interior space painting plan was designed by Hinnerk Scheper who studied under Paul Klee and Oskar Schlemmer and the colors accentuate the construction of the building.

The performance was organized by Torsten Blume, exhibitions Director at the Bauhaus Foundation Dessau. Blume who is also a Light, Installation and Sound artist worked with former DAAD fellowhip recipient Shintaro Imai of Japan (musical direction) and Anna Volkland of Germany (choreography). Record Dances included dancers, artists, and musicians: UK/Australia, Germany, Mexico, and Venezuela. They performed on the Bauhaus Stage which is pinioned between two bi-lateral viewing areas which during the performance were activated as both viewing and performance areas.

The performance set within the historic context contemporizes itself by invoking the present through interaction with the members of the audience. Contrary to common habit of the audience being removed from the spectacle and restricted to a silent and invisible observation post (as if watching a film) the performers invited the audience to sit, stand and walk around the stage and viewing spaces. Thus the observer became part of the spectacle and the performers responded to the audience as part of their visual landscape.

Throughout the performance the black-clad dancers and musicians moved about the entire space interacting both with the interior structures: tapping with sticks on windows, cement beams, lighting fixtures, radiator grills, chairs, floors with drum sticks, hands, feet and highlighting the Bauhaus interior landscape with light and sound. Through these rituals dancers performed the role of avatars enacting moments of discovery through an intuitive exploration of the positive and negative spaces periodically lying down on the stage with head and shoulders pinioned between stage fixtures or a radiator and a wall and then and then peer upward from these vantage points/ observation posts to observe the multi-faceted modernist ceilings.

As a spectator sitting in the audience or standing off-stage I also was interpreted by the performers as part of the mis-en-scene. In passive recognition of the object-spectators the dancers would spatially respond to the bodies around them- drumming out the positive space around an observer. In this way the audience became a participant in a sort of dance-jungle where the dancers would explore spaces above, in front of, behind and in some cases under the audience sitting in chairs at different parts of the space. At one point a performer in languid movements pinioning the torso of one seated young man, a spectator.

As an observer-object I had the feeling I was viewing an organism – something that was comprised of many bodies who came together for syncopated movements as a solitary unit then branched off into either subunits or individual micro-performances which looked like miniature plays. The performers would repeat actions that, in almost-obsessive-compulsive movements, traced pathways between interior structures thereby creating a plenitude of invisible micro-Bauhaus structures that would appear almost like an after-flash and then receded into a tide of new movements.

Record Dance performers at the Bauhaus: Jonathan Buckles (UK), Silvana Suarez Cedeno (Venezuela), Sebastian Flaig (Germany), Ixchel Mendoza Hernandez (Mexico), Jakob Thomser (Germany), Michael Schnizler (Germany), Julia Schroeder (Germany).”

(Les Joynes, Dessau, November 2008)

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