Review of the art residency “Luogo Ameno”, the event it was review and documented in the prestigious Italian art magazines:
ATP Diary: http://atpdiary.com/ecma-nuovo-spazio-espositivo-in-calabria-intervista-con-gli-organizzatori/
KRITIKA ONLINE: http://www.kritikaonline.com/luogo-ameno-yuri-pirondi-ines-von-bonhorst/
The residency and event took place in the amazing (not anymore) abandoned cinema of pizzo ECMA.
Video installation by Ivb Filmes and Yuri Pirondi, sound installation by Paulo Morais, performance by Alexandra Baybutt. Thanks to Giuseppe Mele, Aldo Scuticchio and the town of Pizzo, Calabria, Italy for the support!!https://vimeo.com/194275262
Yuri Pirondi ed Ines von Bonhorst, sono artisti visuali che lavorano tra Londra e l’Italia, assieme a Paulo Morais e Alexandra Baybutt, la scorsa estate hanno organizzato l’evento/residenza Luogo Ameno. Questo progetto ha avuto luogo in un cinema degli anni sessanta abbandonato, a picco sul mare, a Pizzo Calabro. Luogo Ameno è fatto di performances, installazioni video e sonore che esplorano tutti i luoghi del cinema, cercando di ricreare la sensazione emotiva del luogo.
Il cinema è resuscitato come hub artistica internazionale, aiutato a risorgere in maniera totalmente indipendente, situato in una zona sebben idilliaca, molto lontana dai centri di arte contemporanea. Chi gestisce il cinema, l’artista e curatore Giuseppe Mele riesce a sostenere le spese dello spazio, vendendo prodotti tipici calabresi al Borough Market di Londra. Con questa nostra email, cercavamo persone interessate al progetto e al cinema, con la speranza di far rientrare questo luogo unico nei circuiti dell’arte italiana. Questo è il profilo Facebook del cinema chiamato ExCinemaMeleAperto
A Pizzo Calabro, un comune di quasi 10mila abitanti in provincia di Vibo Valentia (Calabria), è nato lo spazio espositivo ECMA, Ex Cinema Mele Aperto, ricavato da un cinema degli anni ’60 a picco sul mare. L’organizzatore dello spazio è l’artista Giuseppe Mele, che ci ha descritto così questo luogo: “ECMA è una stazione meteorologica per studiare il cosmo. Una radio, un radar, un teatro, un parlamento, un luogo di culto; l’oracolo, l’arca del Potlatch, il giardino delle fantasie… tutto e niente finché non si apre una fetta di mercato.
Non c’è niente di definito ed oggi non è facile definire… visti i repentini cambiamenti della realtà. Solo la sfera privata ci appartiene e all’infuori di ciò evito di trarre conclusioni definitive e permanenti. Pertanto non è facile dichiarare cos’è ECMA. Certo qui c’è una storia che vuole continuare ad esistere come tramite tra il privato e il pubblico nel contesto delle arti. Ma non so definire cos’è un art recidency o quant’altro ECMA possa impersonare… Al momento non ho le nozioni per visualizzare come ciò si possa gestire e sostenere ufficialmente in maniera professionalmente curatoriale. Ciò nonostante, quanto avvenuto da quando ho messo piede al Cinema Mele è frutto della determinazione di dare a questo luogo quel valore appropriato già inscritto nell’anima del luogo. Non si tratta di gestire l’arte, ma di viverne il processo partendo dalle peculiarità psico-geografiche e umane dei processi quotidiani e di ricerca. Tutto ciò è messo a disposizione in modo che io non sia il solo ad usufruire di queste procedure… ciò significa che lo scambio relazionale diviene una scultura vivente interattiva… e il cinema stesso vuole essere considerato come un catalizzatore. L’artista o il pubblico non entrano per guardare lo schermo, ma entrano nella pellicola di pertinenza, diventano cinematici. Dunque è la situazione che induce al gioco, in modo da spingerci in esperienze altrimenti rare. C’è un bel po’ di alchimia tra le attuali mura del cinema e i suoi dintorni, chi segue il metodo puramente scientifico moderno non sarà interessato. Il cinema si addice più alla scultura che all’architettura e ne vorrei fare una scultura funzionale se fosse possibile. Le relazioni che ne scaturiscono sono contestuali. Non sono io a decidere cosa fare di ciò. È il contesto che deciderà e sempre con il beneficio del dubbio”.
Yuri Pirondi e Ines von Bonhorst sono artisti visuali che lavorano tra Londra e l’Italia, assieme a Paulo Morais e Alexandra Baybutt
La scorsa estate hanno organizzato l’evento/residenza Luogo Ameno in un cinema degli anni sessanta abbandonato, a picco sul mare, a Pizzo Calabro. Luogo Ameno è fatto di performance, installazioni video e sonore che esplorano tutti i luoghi del cinema, cercando di ricreare la sensazione emotiva del luogo.
Il cinema è resuscitato come hub artistico internazionale, aiutato a risorgere in maniera totalmente indipendente, situato in una zona sebbene idilliaca, molto lontana dai centri di arte contemporanea.
Chi gestisce il cinema è l’artista e curatore Giuseppe Mele.
Yuri Pirondi e Ines von Bonhorst sono registi di film ma anche artisti. Credono molto nel lavorare in squadra, sia nel cinema come nell’arte, i loro canoni sono molto lontani dall’immagine dell’artista solitario che lavora nel suo studiolo. Per questo hanno invitato l’artista sonoro Paulo Morais e la loro da lungo tempo collaboratrice e coreografa Alexandra Baybutt.
L’idea di Luogo Ameno è quella di creare un film tridimensionale attraverso l’espressione artistica, dove le immagini non diventano 3d a causa di occhiali appositi, ma grazie all’interazione con il pubblico. La loro ricerca artistica si basa sul catturare l’emozionalità del luogo grazie alla creazione di personali mappe psico-geografiche. Più semplicemente, l’opera finale narra della loro esperienza mnemonica di attraversare uno spazio e della storia recente o remota del luogo.
Proprio per questa ragione hanno deciso di non usare solo la sala, ma di usare anche tutti gli spazi attorno al cinema per creare un percorso. Mostrare il mare e il vento come esperienza sensoriale attraverso il suono, per poi riprorlo al cinema sotto forma di film.
Review of the film “Eterno”, directed by Ines von Bonhorst (night) and Yuri Pirondi (day),
Performed (Night) by
Music (Night) by
Jared C. Balogh
Voice over by
The Night by Ines von Bonhorst, The night is divided in two parts.
The character of the nymph emanating from the full face of the moon and the double face entity, at once a more mysterious and androgynous aspect inked to the dark side of the moon, although with no negative connotation. These are archetypes containing the history of our earthly satellite, la Luna. Each one of her phases is like a composition in which our ancestral relationship is played out. Ines responds to this mythology by embroidering her personal tapestry and recreating the atmosphere we humans have been seduced by over the ages. The nymph echoes the statues like a statue herself come to life in the light of the heavenly mirror. She has escaped the pedestal she has been fixed upon. She only appears at night like lucciole. We follow her path, through the arches, the colonnades, the bridges, the alleyways, all deserted, alien to the daily roamers, a parallel city, perhaps gliding, like the moon, in our astral memory.
The other figure rises slowly, like a plant awaking to lunar gravity and the pulse of her silver glow, an undulating mercurial presence. It seems to grow from the stones of a city that like the kingdom in the story of Sleeping Beauty had sunk into a deep coma. Each face reflects a different myth. One is quiet and inverted, like a lake, high in the mountains of Peru. The other, tilts towards the solar becomes the night sun and harks back to Etruscan masks. We can imagine this to be the embodiment of a tribal god invoking the spirits of the this being, sun and moon unite in a moment of silent adoration.
Check it out the amazing review made by Pascal Ancel Bartholdi about our last performance in V&A “Innermind”:
http://anonartxinvisiblemagazine.wordpress.com/2014/03/04/innermind-the-hackney-wick-late-takeover-at-the-va-friday-28th-february/ On the stage, a pile of white fabric was left, as if unattended. Two figures entered and changed the face of our expectation as darkness fell suddenly replaced by the dislocation of a moving image.It was as if the screen was split in two distinct parts. And this was in itself an ironic incidence, the inevitability of physical poetry, the theme of the performance alluding to the journey between two lands, two states of being, sang by many poets, Ovid, Virgil, Dante Alighieri, Francois Villon, Goethe… The lose half became animated by two ghostly mermaids while images projected on the flat plane lost their definition, caught in the motion generated by two bodies interacting with light, space and one another, appealing henceforth to the unconscious folds of our imagination, thus bringing the audience to the edge of semi conscious participation. Yuri Pirondi held the projector pointed at the breathing fabric, Ines von Bonhorst and Amrit Douque held one corner at opposite ends lifting the sheet that would transform into a cloud, then a wave, then a sail, catching glimpses of scenes from a series of movies also realised by Ines and Yuri during their travels through England, Turkey, the Dominican Republic and South America.
The dancers, keepers of a language in perpetual motion were clad in white robes and their face shone in the intermittent light like flour masks. Their persona echoed those of ancient plays and the sad burlesque presence of the mime. Perhaps we are all Charon in the sense that we, as guides to the self through the perils of existence, also invoke the caricature of our fears to fend off evil within and without. Here, on stage, the characters were mapping an ancient initiatic rite on the flux of a distended skin, one Charon, also known as dispater, the dystopia of paternal omnipresence, the other, silhouetted in the penumbra of a distant corner, may have been Tuchulcha, one of his/her assistants and alter egos, or Moira, goddess of fate echoing the genial ‘conduction’ of the psychopomp, both ethereal and terrifying medusas slowly drawing the veil upon the deep, and those who await passage in the afterlife. But this would not have been possible without the beholder of the light, or rather he who captured and redirected it, a promethean shadow man working en coulisse so to speak, although he manoeuvred in the recess of the front stage right before our eyes, his face turned away from us, his black clothes in direct opposition to the pale skeletal features of the two protagonists. Furthermore none would have moved, and all would have remained static, as if turned to stone, had it not been for the musicians Mauricio Velasierra and Heidi Heidelberg, who like Orpheus long before them, charmed the demons of immutability. We could paint those figures struggling with the elements, whose ancestry adorned many a vase, and the walls of tombs. Like gods lost in the tempest of a cosmos on the verge of crystallisation, the two performers seemed to uphold the palimpsest of earthly life before or may be inside the collective mind’s eye. One could have imagined a sun sinking behind the back curtain, but this was not a drama or an opera. No words were spoken, and this fact made an emphasis on all other sounds produced during the act; the sound of active corporeal interaction with the environment. This means, the sound of inspiration and expiration, the sound of notes, the sound of feet walking on the floor, the sound of people shuffling, coming and going, the sound of matter colliding with matter, reverberating in the grotto of experience, mixing like living cells. We must talk of it as an act as this was an instance of pure theatricality where text was subdued and inferred but never used, replaced instead by gestures, breathing, music, light, entanglement and spatiality. The words of Antonin Artaud once again were evoked. “Poetry is a dissociating and anarchic force which through analogy, associations and imagery, thrives on the destruction of known relationships.”… “In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds.” (The Theatre and its Double.). One of the most crucial moments unfolded as a penultimate occurrence, bringing the exit unexpectedly. The drape was lifted suddenly as if a giant had blown into it and prompted by this upward surge, the two Charon ran towards the crowd sitting in the darkness covering half of the audience with the surface glimmering with unreadable signs, broken language of our times in the waters of the Styx. This was a coup, like a door slammed shut, or a flash of light through a window. The film still played, and I wondered if some of the members of the public looked up to try and decipher the riddles as the sheet slid swiftly above them, at once pulling one veil off and bringing the sleepers out of another dream. Copyright © Pascal Ancel Bartholdi 2014 Review made by Pascal Ancel Bartholdi – Inter Scape Exhibition – 21st of September 2013 you can see the entire text on: http://pascalancelbartholdi.wordpress.com/2013/10/29/review-inter-scape-mnemonic-city/ “Ines Bonhorst ‘s piece (Immutable) focuses on the paradox through which time and timelessness incoherently fuse with finite and infinite space. This paradox is contained in the human form. It is a key and a key hole at once. The body turns air into an opponent and each gesture becomes a battle with no definite end. The rhythmic violence of the network encircling us is emphasised by the acceleration of the super highway jutting out on each side of the body thus contracting and dilating in slow motion as it senses the monotony of its infrastructural cell. A strip of sky line evokes the low land etchings and drawings of 17th century masters like Vermeer. It is poetic and unencumbered by technical solutions.” New Review by Alessandra Cianetti Post on The Flaneur online Magazine Part of the series Mnemonic City, Moving Streets is the latest exhibition of Magma Collective. Ridley Road Market has been the starting point for a three-month derive that ended up in a two-day exhibition and live performances at Doomed Gallery. The market has been the magnifier to explore relationships, trade, city spaces and the point of departure for the collective’s flaneries: a way to investigate the urban and human topography of Dalston. Through their walks, Magma Collective experienced the city as a device able to trigger memories, build and witness history. Three months of exchanges, investigations, constant contact with the area, made the artists aware of the possibilities of the market and the surrounding areas. Where are the borders of relations and spaces? What is the limit an artist encounters in exploring a complex organism such as Ridley Road Market? Pascal Ancel Bartholdi, Mikail Baur, Anna Burel, Rodrigo César, Yasmine Dainelli, Ken Flaherty, Rupert Jaeger, Max, Michael Picknett, Yuri Pirondi, Julien Thomasset, Lucia Tong, Jaime Valtierra, Ines Von Bonhorst. These are the artists that worked at the project for three months of intense collaboration and sharing, with the aim to build new connections with a public space where the network is based on the coexistence of cultural differences. The nocturnal video of Ines Von Bonhorst, the map collage of Anna Burel, the paintings of Jaime Valtierra, the video performance of Yuri Pirondi are only few examples of the artists’ responses to the explored environment. Although the individual works are dissimilar in techniques and practices, the exhibition as a whole recreates the feeling of a market, where the space is filled with conversations and exchanges. These dialogues among art works convey the sense of what coexistence in an urban space means, and of how difficult and enriching it can be. The artists of Magma Collective developed their practices while building relationships with the local community and engaging with its meanings, producing a collaborative portrait of Ridley Road Market that is complex, challenging and inspiring. MNEMONIC CITY Ines Von Bonhorst, director and Yuri Pirondi, cinematography, invite us to their performance/video screening The Guise accompanied by music duo, musician Mauricio Velasierra, singer Heidi Heidelberg, in the garden. It is already dark and as we gather, the flutist and the singer/sound artist have already begun. A woman, performerSofia Figueiredo is entangled in a set of strings attached to the branches of a dead tree, she stretches them to the limit and in so doing also stretches her life line up to the point of breathless extenuation. This is reflected in the strident effusions of the flutist and the pseudo screams of the singer, who both have become the ectoplasmic voice of the prisoner. For this is what she is and those elastics to my mind symbolise the rules of the outside world imposed on her freedom, subjugating her flow, restraining each movement, and never allowing her enough space or time to speak out; but it is also a sign that her existence is intricately linked to nature, this dead tree, a tragic embodiment of our own nature escaping from itself, yet incapable of subsistence in complete loneliness. She speaks only through her body, the momentum receding, and forwarding, yet with no real progress, an illusion of change, of hope even. She is Sisyphus. And we have become the mountains surrounding this human being, like gods turned to rock. We observe the pain without emotion for to us, this is mere entertainment; a possible interpretation. The separation between the eye of the public and the woman who falls before us is vast, despite her physical self manifesting among us and dragging itself confusingly on the ground rolled into a dark shrine, inhumed in mental alienation. Review by Pascal Ancel Bartholdi http://doomedgallery.wordpress.com/doomed-corner/ http://pascalancelbartholdi.wordpress.com/
Kula Ring Event
A strong anthropological link appeared to resonate between Two pieces: “ROPE” with Johnny-Lee Leslie on the accordion, Michael Baur on the guitar and Sofia Figueiredo performing live and a video about birth, life and death by Ines Von Bonhorst accompanied by musician Jez Houghton. Both ‘stories’ relate the existential journey of a woman, perhaps of woman as the anima, the muse and the Sibyl, following the trace of a mental labyrinth, exposing it, and closing it as we close a book, yet more akin to a dream, the pages withholding the significance of their content within undecipherable glyphs. The pale body emerges hesitant… maybe blind. As the Rope woman, Ines’s feminine being is entranced in her own internal revelations. We are left gazing in awe as we would before the spectacle of a waxing moon over a territory where liquid and earth are indistinguishable. The redness of the bed enhances the visceral suffocation inherent to the brutal emergence of consciousness in the world of matter, it impregnates the walls of a cell that expands beyond the frame. By contrast, the rope unleashes in its unwinding the endless hopes for a resolution, a loop, an access into a parallel state of being. Despite this, we are confronted with the affirmation of loss, the end of the rope does not lead anywhere, more so, it arrives entangled, lose, abstracted in the increasing de-coordination of the performer’s movements who had found for a brief instant a path to the centre, and a path to the edge. This edge, Ines’s foetal woman never quite reaches. She in fact is the edge. All other elements revolve around her, silent, as if she was imagining them in and out of existence. The room is not a room, the air is not air. This being is not yet conceived. It dreams of touch and smell. It curls back on itself like a rose that almost blossomed. Review by Pascal Ancel Bartholdi http://pascalancelbartholdi.wordpress.com/