C1#

Compost #1

Organic materials, reflections and working notes of Context project.


Project, research and video editing: Alessandro Carboni
Assistance: Ana Luisa Novais Gomes
Music: Danilo Casti
Organization: Debora Ercoli
Production Formati Sensibili 2020
With the support of: L’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza Emilia-Romagna; TIR Danza.
Co-produzione: CapoTrave/Kilowatt, in the frame of Be SpectACTive, supported by Unione Europea - Creative Europe.

Released on 09/07/2020

Let's talk about the idea. What is an idea? As often happens to me, that the generation of an idea is something that comes from a sediment. It is as if at a certain point, even for a single instant, that matter that has inhabited the subsoil for so long, appears, shows itself and is visualized. This moment happens, but it doesn't belong to us. Indeed it is elusive.

At that moment the parts that lay underground, combine, come closer and that connection that up to that point seemed impossible, manifests itself.

There is a hidden agreement between the parties. That form emerges. Who knows for what tension, relationship, bond, intertwining those elements, come together, as if they were tied by threads. The parts come together, find a structure, a volume, form a plane, and we see an outline. The idea is before us and takes shape. It crystallizes and becomes a solid and at the same time fragile object.

I like the idea of ​​something that crystallizes underground, in the dark and suddenly emerges.

Often, the idea, the shape, the image that emerges is the result of mysterious circumstances that do not always depend on our will. In fact, taking shape depends on the numerous internal and external stimuli that have allowed that idea to become visible.

The image will be visible only if we are able to see. And to do this it takes training, it takes practice to feel the crystallization, the formation of the idea in place. It is a constant training for intuition, the ability to feel, to define, to interpret the process. I imagine the transparent, fragile crystal capable of transforming, dissolving and returning sediment, fertile matter waiting to recrystallize in other forms.

The continuous process of emergence, assembly and decomposition of matter and ideas, generates an anti-narrative artistic research practice close to the logic of compost where the relationship between the elements (bodies, materials, ideas) does not proceed by composition, but you think by composting or on an equal footing. The elements mix and find a relationship without the planned hierarchy dictated by a priori dramaturgical or choreographic script needs.

Starting from this fertile space and generative place, I thought of the word Context, and its Latin etymology con-téxere = weave, fabric. woven, woven.

If in the sediment, in the compost, the elements, in their relationship and decomposition process, are transformed and become something else, in the Context the relationship, the intertwining, define the very meaning of the Context. Whenever these relationships change, the meaning of the context changes. So there is a continuous adaptation, a continuous renegotiation of the founding principles, of the conditions themselves that generated the context,

In its nature the city emerges from these principles. The structure of the city originates from a sediment. Its supporting structure is in the subsoil. The city is made of parts, of relations between the parts. An interweaving of elements (bodies, infrastructures etc.) detached in constant dialogue and relationships. What does this relationship emerge? The urbanity. Urbanity is the crystal that emerges from the constant relationship, renegotiation of dialogue, tension and clash between bodies, infrastructures, society etc.

In the last 10 years I have focused my research and artistic production in the study of the relationships between body and urban space. In particular, Hong Kong, where I lived for about 10 years, gave me the opportunity to observe the unpredictable, emerging non-linear dynamics of the urban space as an ecosystem, complex and organic. Somehow, Hong Kong embodies the paradigm of the contemporary metropolis in which social, economic, environmental and political issues, conflicts and tensions converge an elusive flow, difficult to contain and represent.

In order to understand the transformations of Hong Kong's urban space, I began to explore its verticality by observing the city of the top and visiting the archives of the Hong Kong land register to consult the first aerial photos taken by the British in the city. These images gave the opportunity to recount how many urban space and its transformations in real time.

In my practice, the cartographic process became an attempt to reduce complexity, in particular urban to sign: a process of crystallization, abstraction and representation. At the same time, starting from the bottom, the cartographic process is applied to the body, which becomes a subjective map and an instrument for capturing and representing urban space in its geometric and temporal dimension. In the cartographic process, the generation of the map emerges exactly like the process that generates a shape from the sediment. Urban complexity, unpredictable, emerging, generative as compost, is projected into the projection plane and becomes a map, sign, representation.

Upon my return to Europe, after the years spent in Hong Kong studying the relationship between cartographic processes, urban space and body, I felt the need to apply research to scenic space and to the artistic process that transposes research into a symbolic abstraction plane .
The stage became the compost, the projection plane, in which the sign and the shape emerge and crystallize.