Inquietudine performance at the conferenza spettacolo “Sottrazione di elementi come forma attuale d’astrazione”
Dancer and coreographer Ginevra Benussi
Conpect and direction Nicola Benussi
Music Irene Drèsel
Performance for Forme di comportamento, Sottrazione di elementi come forma attuale d’astrazione with the artist and professor Giovanni Morbin
Inquietudine: We live in an age in which individuals are constantly immersed in a constant flow of information and stimuli, a situation that can lead to a more or less constant sense of restlessness. This performance offers a journey through this complex and sometimes tormented emotion, without resolution. The artistic journey passes through various phases: from being completely entangled in this state of overload and confusion to the point of personal annihilation. To what extent do the frenetic situations in which we live our daily lives lead us to become entangled in this condition? When does this condition become a veritable box that prevents us from opening up to the world?
The performance is part of the conference-show curated by the Compagnia teatroBlu: Forme di comportamento, which, for this occasion, hosted artist and professor Giovanni Morbin with “Sottrazione di elementi come forma attuale d’astrazione”.
Through this conference-show, Morbin will lead the audience to discover a fascinating and often mysterious dimension of contemporary art: the process of subtraction as a creative gesture and a practice of thought. This reflection begins with a condition that strongly characterizes our present: a daily life in which the individual is constantly stunned by an excess of data and communicative stimuli.
If this is also the dimension in which the artist lives, he or she may be encouraged to embark on a journey backward, seeking to gradually remove the traces of his or her own passage. This opens an adventure that, in other times, we might have called abstraction. But what does it really mean to abstract oneself? Is it perhaps a reference to an ascetic life? Or to alienate oneself from the context as a form of disengagement? Neither of these is the right answer: the commitment lies in reducing the constructive grammar of reality. This is not to produce essential images, but to offer simple spaces for reading as “protagonists” rather than spectators.