What is the human body able to sustain when subjected to devices that record sounds and images? And what can we be done with the human body when it tends to evade the representational codes of these devices? mazy ( meaning labyrinthine) based one the choreography by Willi Dorner offers three answers formulated with the dispositives of video, film and computer: video graphics marionette, expressive finish being and a computerized trace of movement. In notes on mazy Nobert Pfaffenbichler constructs a baffing set of rules which make use of complementary and oppositional elements: colour vs. black and white, front vs. rearview, rectangle vs. square body as a whole vs. head/face. nothing is left of the space in wich dancer Helga Guszner moves: On the surface forms a web of kinetic fragments and interference which infects the chronological temporality and fuses the corporeal and mechanical movements ­ in a fragile manner and textual form simultaneously. Johannes Hammel’s system of transitions subjects the human body to an extreme test: In constant danger of being swallowed up by a space ending in a black void or becoming stuck to various surfaces and making sounds, an instect-like being undergone a transformation which is beyond physical reasons. In jittery montages, the body ( again Guszner) extricates itself in convulsive movements, though painlessly to a point at which the ability of this (or one’s own) body is barely believable. Michaela Schwentner draws the final conclusions form this working over in how do you want m.? The body is no more. What remains are nearly incomprehensible layered visual traces, created in a computer, that condense into abstract geometries in motion. Breakbeat fragments force us back to the point at which the question of what a human body can do is pose again. (Michael Palm)
- #Director: Willi Dorner
- #Country of Production: Austria, Vienna
- #Year of Production: 2003
- #Duration: 00:07:00