progetto produttivo 2012/2016

All! 2012 / 2016

project and realizzation Kinkaleri

There are some friends that, once met, you feel right away like forever friends. Friends you think of when you act and that lead you in choices, they support you even and most of all when you don’t.

William Seward Burroughs is a master and a friend who taught us that things have different scores, diffe- rent dimensions and interpretation rules, you just need to put references in different points from the Carte- sian zero.
W.S.B. taught us to build bombs, real and factious, to reduce the enormous gap between who hold the po- wer of the established word and who instead feel the delicate, unstable, insecure presence of language.
No power’s stronger than language. That’s why we all are compelled to exercise/practise the revolt at every occasion.
W.S.B. taught us you need to be brave for living, especially if you accept to become toxic to see beyond appearance

–  Can you see that cow clear-cut upon that mountains crest against the light?

–  Oh yes, I can!

–  And that man playing with a crocodile in the green water of Amazon river?

–  Ah. Ah Ah! I see him! They look like a cat and a mouse!

All! is a project about language made up of physical, verbal, visual and sound processes with total freedom of expression. The focus for this research is the figure of William Seward Burroughs, who has always used the language as a frontier, a creative and political act; this is not a project about W.S.B. but with W.S.B. and with all the artists in those years have investigated the language in its possibility of being other than words. Basically it’s a performance on what W.S.B. used to teach: be free even under torture. Back to one radicalism in our own presence.The invention of a code that allows the transcription of the alphabetical symbol directly onto one’s own body, in a dynamic exchange between space and time, was the real founding act of the project; a choreographic practice in which a rigid grid of translation between alphabet and gesture opens to a space of individual freedom and develops all the functions of a moving body. A pure invention conceived so that a performer can acquire the writing as an element of composition to perform here and now, by adopting a code/language that, in its application of calligraphy, has the possibility of becoming other, going beyond the word itself and redefining the idea of choreography.It’s a matter of following the attitude to break the schema of relation, communication and of the slavery to the scene. It’s a matter of fight, strategy, of lacking when you risk, of running away because it’s necessary. It’s a matter of giving voice to the need of disorganizing the moving bodies within a scene that contemplates them or that, on the contrary, dissolves them.Play For Subject, Microphone And Target Say No To

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Found Dance