7 octobre
He blows breath into a yellow neck rest (which doubles as a child’s flotation device); he holds a feather in his right hand, a hammer in his left and lets them both fall; he throws an apple in the air, receives it gracefully on the top of his head and bounces it to the floor; as he observes the stretch of audience with his binoculars the Star Wars theme (or was it The Empire Strikes Back?) (AG: It was Superman!) blasts through the speakers and super abruptly cuts off; he takes a gulp of energy drink; presses play on a portable tape deck which sets off bird songs; he flutters his collar in a fine bird-like imitation wearing red glasses, then giving us the thumbs-up; collapses instantly to the floor in soaring airplane pose (also reminiscent of the Locust asana in Yoga) (AG: it’s the Superman exercise); a softer classical music of operatic flavour plays briefly; once stopped we still hear the bird song in the background; he goes to the microphone and begins reciting an original Fluxus-inspired onomatopoetic version of our feathered friends; a modern ballet stride diagonally across the pool to reach another tape deck; then we hear a Spanish Tango; attaches cape-like a red and white checked table cloth at his neck; he turns on a small hand-fan facing his head which provides him with an instant breeze, dramatically blowing back his hair and the cape (magically he is in flight and his feet haven’t even left the ground – although his arms and elbows flap comedically); but then flight appears for real in the form of a remote controlled helicopter. Another blast of the Star Wars theme (or is it The Empire Strikes Back??) (AG: It is Superman!!) and we have completed a cycle.
Andres Galeano
A selection of these actions is repeated (but not really repeated, as he is no longer the same person and we are no longer at the same place) and further, they’re not in the same order. However, each action is always carried out on the same spot, creating mini performance stations within the basin of the pool. And each action is precisely punctuated with a strong pause: he wraps up one fully before shooting off to the next.
Another selection of actions recurs but this time adding new ones: he pulls out a vinyl case, unzips and exposes a white metal birdcage which is then tossed high up in the air and accurately caught.
There is only one moment in his circuit in which his action varies – this would be the small red pillow. The first time around he tries a headstand which turns into a summersault. The second time the headstand is quite complete. The third time he takes the pillow out of its case, tears it open, takes out a handful of feathers, buries his feet in the fluffy mass and demonstrates 1st position, 2nd position, 3rd position, 4th – but only with his hands. His feet follow in an attempt towards un saut plié.
Andres Galeano
…It’s necessary to articulate each action separately because each one makes up the whole of the performance. And it’s clear that rhythm and repetition are extremely important factors in his presentation, we are witnessing a visual composition with all the variations (or component parts) of a piece of music, or more specifically the classic 3-minute pop song: verse, chorus, verse, and then the bridge. The bridge here being a moment in which he pulls an incongruent action out of nowhere: making the sign of the cross.
Cette œuvre donne à voir, entendre, découvrir et redécouvrir une sorte de programmation méthodique, répétitive et nuancée. Le choix des gestes et l’utilisation des objets usuels incorporent un ensemble de procédés de décortication, d’extension et de recomposition. Ceux-ci permettent de développer une qualité de perception basée sur le foisonnement des rapports analogiques, associatifs, métaphoriques que l’on entretient entre des éléments correspondant à un domaine bien précis. Pour Andres Galeano, il ne s’agit pas de densifier un espace performatif par le choix d’une charge émotive mais davantage d’extraire d’une fixation sur quelque chose de précis le déploiement de l’imprévisible.
Andres Galeano
Après quelques actions, le côté absurde s’estompe et nous sommes alors face à la ponctuation d’un léger rayonnement constitué de multiples facettes scintillantes directement cueillies au cœur de la complexité d’un univers, ici le chant bien singulier d’un oiseau. Plus la performance prend son envol, plus nous désirons reconnaître à quel moment, à quel point les changements dans la succession du déroulement et à l’intérieur des variantes dans l’exécution des actions vont apporter autre chose et combien le rire peut être répétitif même lorsque nous avons déjà vu l’action.
In repeating his actions he opens up a nebulous space that questions his ‘seriousness.’ Is he back here again to emphasize his point, or his he pushing it to a point of total silliness? His actions sit somewhere between that supposed serious (ness) of TRYING to be an adult and the playfulness of being a wondrous and curious little kid.
À la fin de la performance, lorsque le performeur fait jouer, en accéléré, l’enregistrement en direct de la partition qu’il a exécutée quelques minutes auparavant, et que nous reconnaissons clairement ce chant (celui du chardonneret élégant) nous renouons, alors, avec la magie du réel, c’est-à-dire le pouvoir du performatif.
La performance Carduelis Carduelis actualise les prolongements à la fois de la légèreté et du poids du performatif, une idée métaphorisée dans la performance par l’action de tenir dans les airs un marteau et une plume.
