The new life of objects

All our gestures get somewhere, all our actions have consequences. The paths we trace define trajectories that are sometimes unpredictable when thought of a priori. But, there is also the place of the unknown in everything we do. Art rests here. The performance piece Composition I Plowing the Soil with Drifts and Mysteries, reconstructs for us a piece of a nomadic history made by collecting remains. What remains of abandonment, interruption, degradation. What remains of resisting time and the erosion it carries. Flávio Rodrigues walks and collects what he comes across and what remains of those places of abandonment and wear and tear. The ground that is walked on therefore becomes a fertile path for new lives to occur. The object found raises suspicions of a new life to come.

Choreographer Alwin Nikolais distinguished motion from emotion very well, he said that dance was motion, it should not start from what can be called emotion. He said that because, simply, it is the motion itself that would lead to the emotion. A certain doing will lead to a certain emotion. So maybe we don’t get lost or sink into the density of emotion and unlock ourselves through action. Also, the walk and the look we achieve along these paths are uncertain and enigmatic because they have no purpose. We walk without starting from anything specific, the walk is pure action.

Composition I Plowing the Soil with Drifts and Mysteries, is a moment of suspension where objects by the hand of Flávio Rodrigues will gain a new life. The composition will be responsible for giving them a new context, for recycling the memory they have left. The composition acts as an archeology that is doubly fictional and historical.There is a return to place and there is a return to the void of meaning. But above all there is a care for found objects, left in the destruction of time. There is a gesture of eternal affection. There is a new castle that Flávio Rodrigues offers us to look at.

Né Barros