![]() ![]() ![]() This abstraction – one could almost say extraction – of the natural appearance of the dancers, dressed in primary colours, gives rise to an agitated and luminous nebulousness. Beginning Tree of Codes in this way illustrates Eliasson’s structuralist thinking. ![]() His “chronophotographic” images, as they were called, were to serve as references, around 1912, the period at which abstract art was born, both for Marcel Duchamp in his Nu descendant l’escalier n o 2 and for the futurist Giacomo Balla and his vibrant Compenetrazioni iridescenti. From the very first minutes of the performance, the artist’s conception of the scenography is clearly perceptible: in a space plunged into total obscurity, the dancers evolving on stage are equipped with luminous white dots placed over their joints, reminiscent of the white stripes that the doctor and physiologist Étienne-Jules Marey sewed onto black leotards, (they also moved against a black background) with the aim of analysing the structure of movement. ![]()
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