restless draft in undried hollow
'Restless draft in undried hollow' draws from Baroque, an era shaped by a fractured worldview after the Catholic Church's split in 1517.
As the old order collapsed, a void emerged-ready to be filled with absolutist agendas.
Baroque's excess and ephemerality showcase endless possibilities through constant repetition and change.
Emptiness becomes a central scene, where perpetually newly (re)born horizons of expectations unfold.
Architecture, music, stage design, and the choreographed body come together to perform displays of power, using controlled perspective
and the affect of togetherness to create hierarchies while highlighting exclusion and inaccessibility. I question for whom the gaze is reserved
and how it is choreographed-how 'observing' is entangled with 'being observed', through means of omissions and additions.
By reworking both personal and found materials, I question how historical documentation moves, changes, and shapes access to its information and meaning.
'Restless draft in undried hollow' draws from Baroque, an era shaped by a fractured worldview after the Catholic Church's split in 1517.
As the old order collapsed, a void emerged-ready to be filled with absolutist agendas.
Baroque's excess and ephemerality showcase endless possibilities through constant repetition and change.
Emptiness becomes a central scene, where perpetually newly (re)born horizons of expectations unfold.
Architecture, music, stage design, and the choreographed body come together to perform displays of power, using controlled perspective
and the affect of togetherness to create hierarchies while highlighting exclusion and inaccessibility. I question for whom the gaze is reserved
and how it is choreographed-how 'observing' is entangled with 'being observed', through means of omissions and additions.
By reworking both personal and found materials, I question how historical documentation moves, changes, and shapes access to its information and meaning.
Caroll Durand: 'The Apogee of Perspective in the Theatre: Ferdinando Bibiena's Scena per angolo', Theatre Research International 13(1), 1988, S. 21-29.
Ferdinando Galli Bibiena: L'architettura civile preparata sú la geometria, e ridotta alle prospettive, considerazioni pratiche, Per Paolo Monti: Parma 1711.
Francesco Sbarra, La Contesa Dell'Aria, E Dell'Acqua: Festa À Cavallo Rappresentata Nell'Augustissime Nozze Delle Sacre, Cesaree, Reali M.M. Dell'Imperatore Leopoldo E Dell'Infanta Margherita Delle Spagne / [Antonio Bertali.] Inventata, e descritta Da Francesco Sbarra Consigliero Di Sua Maestà Cesarea, Apresso Matteo Cosmerovio: Vienna d' Austria 1667.
Jean Le Pautre, Engraving: The Fête of 1674, Fifth Day: Fireworks on the Canal, 1676 (later edition)
Johann Sebastian Bach: Goldberg Variations, BWV 988_ Variation 2 interpretated by Glenn Gould, 1955.
John Richard Green: A short history of the English people, London: Macmillan and Co 1875-
John Bulwer: Chirologia, or, The naturall language of the hand: composed of the speaking motions, and discoursing gestures thereof : whereunto is added Chironomia, or, the art of manuall rhetoricke : consisting of the naturall expressions, digested by art in the hand, as the chiefest instrument of eloquence, J.B.
Gent. philochirosophus: London 1644.
Slavoj Ziek: 'Void and Excess in Music', International Journal of Zizek Studies 11(3), 2017, S. 280-286.