What remains disappears: a portrait
What remains disappears: a portrait plays with the boundaries between ephemerality and durability, the live moment and the documentation, the process and the outcome, the performance and the art object.
It encounters the tension of dealing with two different modes of mediation. The proposition is to reflect on the role of the body when this is placed on the edges between dance, visual art and performance art.
The core impulse and fascination at the beginning of the research process was that of the human condition of embodiment: the fact that we all live in a place or inside an object called the body. With that idea as a main provocation, I started a journey that reshaped through time. I was mainly influenced by theoretical research that spanned philosophical classics on the body, presence and affect (Spinoza); contemporary performance studies; and contemporary and historical practices in the fields of dance, visual art and performance art. One of the events that turn out to be a main axis in my research, was that of Hans Namuth’s documentation of visual artist Jackson Pollock; the famous photographs and films detonated the revelation that the artwork as object is the result of a specific action performed by the artist’s body.
What remains disappears: a portrait, May 2017, Laban Theatre, London
Concept and direction: Coral Montejano Cantoral
Created with and performed by: Emilia Ahopelto, Joséphine Auffray, Miia Mäkilä and Sara Maurizi.
Photo Credits: Rocío Chacón