Closer to a Pollockian than a Critical-absurdist origin was Galia Eibenschutzâ€™s performance last Wednesday at the Sala de Arte PÃºblico Siqueiros.
Archi-modernist and proto-performer, during the Postwar Pollock overcomes the purely pictorial relationship between Art and Jazz (Kandinsky improvisations are from the turn of the Century, Mondrianâ€™s Broadway Boogie Woogie is from 1943), and setting a dance that captures the process over the objectual result, as an event, immediate and ephemeral by nature.
There followed Gutai, and Yves Kleinâ€™s vivisections of social body. Closer to a Pollockian than a Critical-absurdist origin was Galia Eibenschutzâ€™s performance last Wednesday at the Sala de Arte PÃºblico Siqueiros. Entitled â€œFossil Movementsâ€. Drawing dance? Danced drawing? Telluric dramaturgy.
Four blackboards deployed on the three spatial dimensions (or walls) of the Cosmos (or room) interact with the temporal dimension (or ground) where the dance lags. There are four vertical planes (black as the vastness, four as the cardinal points) constitutive of the here and now emerged from the orogeny, from volcanism, of the hereinafter love and hate of tectonic continents, from all the accidents of planetary boil. Paroxysms and asthenia of the living.
These four planes are world map being revealed for what it is: a single frame of an action movie. It is not the drawing the object of dance (does not own it), but the record of a movement, not the result of a plan (of whom?), but a momentum footprint of dancing steps. Unnumbered non linear impulse named Caos, integrated as well by the cries of the child in the room, by the friction of white mineral dragged over the rough surface of the Crust, by the sore injures of falling on stage, by the energy with which we respond to the look of this plenitude while acting.
From the Blue Train Coltrane razed magnificent, from crash of the Indian Train upon Asia was born the Himalayas. Profound time, upon real time. Violent. Sensitive. Plastic Â