home

PRESS

Londra Culturale

Ginevra Bria

Oleg Koefoed

Simonetta Lux

Roberto Pinto

Elvira Vannini

Interview with
Simonetta Lux

Susanna Bianchini

Antonio Cossu

Giornale Sentire

Milano Sud (p.9)

SCALA 1:18 - following Debord's lines


Marco Dalbosco Warp and Weft Behind a textile's intertwining, remnants of the history of our modern society are hidden: the Industrial Revolution, which begun just in England in the middle of 18th century, involved the textile industries and drove many people, men and women, to abandon the countryside and overflow (either overflowing the cities or flowing into the cities) into the city to serve in the factories. They worked at the constant, never changing rhythm of the machines for many, many (I would avoid repetition)centuries. Marco Dalbosco, from the region of Trentino, (add Northen Italian Region, as ppl don't know where it is, but then you need to drop Italian before textile factory) worked (for) a long time as a labourer in an Italian textile factory; (sentence is a bit too long, insert full stop here) he took in its meaning, investigated its dynamics, agreed with Guy Debord and his idea of society of spectacle: not just the turn of the production into a show, but rather the alienation of the individual, his suspension as a unique thinking being and the unavoidable conformation to the mass. Still following Debord's lines, the same suspension is applied to the definition of art: in a clever passage from the crystallised and closed eternity embedded in any artwork to the direct experience of the fleeting, the concept of situation, which flux exhausts in the space of an action, emerges. (the verb at the end doesn't work well in such a long sentence) A performance by Dalbosco requires total engrossment and direct experience by the public; there is no account of its passage but for today's reproduction techniques: Scala 1:18 features five girls (girls sounds odd unless you are trying to stress that they are young), who are all dressed and combed the same, moving according to the imaginary trajectory of a warp and weft. They weave the void, pushing it towards something creative, trying to redeem an alienating mechanics and maybe succeeding for a second, but in fact they can't go beyond their starting point, they can't change a predetermined trajectory; failure to do this would result in the breakdown of the machine set in motion. The actresses-dancers are stuck in a never-ending production, the expression of an event that seems to become metaphor of our own thought: apparently free but sometimes, without us realising, it's instead constructed and constricted.

10 Dec 2010

Susanna Bianchini