{"id":14779,"date":"2010-04-22T18:47:07","date_gmt":"2010-04-22T21:47:07","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14779"},"modified":"2010-04-23T15:48:13","modified_gmt":"2010-04-23T18:48:13","slug":"conversa-futurista-entre-chameki-e-lerner","status":"publish","type":"post","link":"https:\/\/idanca.net\/conversa-futurista-entre-chameki-e-lerner\/","title":{"rendered":"Conversa futurista entre Chamecki e Lerner | Futurist conversation between Chamecki and Lerner"},"content":{"rendered":"

De passagem pela Performa 09 – Terceira Bienal de Novas Artes Perform\u00e1ticas<\/a>, que aconteceu em novembro, Cristiane Bouger escreveu sobre tr\u00eas trabalhos. O primeiro texto, j\u00e1 publicado pelo idan\u00e7a<\/strong>, foi sobre Auf den Tisch<\/a>!<\/strong>, de Meg Stuart e Trajal Harrell. Este aqui fala sobre o v\u00eddeo Conversa com Luvas de Boxe<\/strong>, da dupla Chamecki e Lerner. O terceiro ser\u00e1 publicado em breve… Aguarde. <\/em><\/span><\/p>\n

::
\n<\/em><\/span><\/p>\n

100 anos desde o Futurismo<\/strong><\/span><\/p>\n

Performa 09 \u2013 A Terceira Bienal de Novas Artes Visuais Perform\u00e1ticas, dirigida pela cr\u00edtica e historiadora de arte RoseLee Goldberg, aconteceu entre 1 e 22 de novembro em Nova York. Em sua terceira edi\u00e7\u00e3o, a bienal celebrou o centen\u00e1rio da publica\u00e7\u00e3o do Manifesto Futurista<\/em>, escrito pelo poeta italiano Filippo Tommaso Marinetti, em 1909.<\/span><\/p>\n

O manifesto de Marinetti foi publicado em Paris, na primeira p\u00e1gina do jornal de circula\u00e7\u00e3o di\u00e1ria Le Figaro<\/em>, em 20 de fevereiro de 1909. O influente texto apresentaria um dos movimentos art\u00edsticos mais provocadores e radicais do s\u00e9culo passado e lideraria as pr\u00e1ticas Futuristas nas d\u00e9cadas que se seguiriam. O Futurismo foi seminal no desenvolvimento da performance e das vanguardas que se originariam no decorrer do s\u00e9culo. Contudo, tanto o manifesto quanto o movimento art\u00edstico foram pol\u00eamicos n\u00e3o apenas por suas ideias extravagantes, mas tamb\u00e9m pela perspectiva fascista e sexista de Marinetti, atrav\u00e9s da qual ele exaltava \u201co gesto destrutivo dos que trazem a liberdade[1]\u201d e celebrava a guerra como \u201ca \u00fanica higiene do mundo[2]\u201d (MARINETTI, 1909).<\/span><\/p>\n

As ideias art\u00edsticas revolucion\u00e1rias que foram originadas pelos manifestos Futuristas na It\u00e1lia \u2013 poucos anos antes da I Guerra Mundial ser deflagrada \u2013 s\u00e3o controversos ainda nos dias de hoje. Por outro lado, atrav\u00e9s do \u00edmpeto de \u201cdestruir\u201d o pasado e se referir com esc\u00e1rnio a todas as estruturas estabelecidas como museus e institui\u00e7\u00f5es acad\u00eamicas, os Futuristas vislumbraram novas dire\u00e7\u00f5es para a arte no \u00faltimo s\u00e9culo. Como declarado por Goldberg, \u201cOs Manifestos Futuristas n\u00e3o deixaram nenhuma parte da vida moderna intacta, explorando e provocando, inventando e desafiando, e propondo e projetando novas formas de comer, dormir, voar e sonhar[3].\u201d<\/span><\/p>\n

‘Vita Futurista’<\/strong><\/span><\/p>\n

Entre os trabalhos integrantes do programa que celebrou o Futurismo na bienal, estava o projeto Futurist Life Redux<\/em>, com curadoria de Lana Wilson e Andrew Lampert. Inspirado no filme Vita Futurista<\/em><\/strong> <\/em>(1916), originalmente filmado por Arnaldo Ginna[4], o projeto incluiu 11 cineastas e videoartistas. Cada um deles recebeu a tarefa de (re)criar um dos segmentos do filme original, cuja distribui\u00e7\u00e3o ocorreu de forma rand\u00f4mica com base nos 11 segmentos do longa de 40 minutos[5], do qual n\u00e3o existem c\u00f3pias.<\/span><\/p>\n

Vita Futurista<\/em><\/strong> foi o \u00fanico filme realizado pelos Futuristas, e apresentava muitas das ideias propostas em 1916 pelo manifesto O Cinema Futurista<\/em>, co-escrito por F.T. Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla e Remo Chiti.<\/span><\/p>\n

Como afirmado no programa de Futurist Life Redux,<\/em> acredita-se que o filme original era composto de \u201cpelo menos 11 segmentos independentes concebidos e escritos por diferentes artistas Futuristas[6].\u201d Sinopses curtas de cada segmento e alguns stills<\/em> foram a base para que os artistas contempor\u00e2neos recriassem uma vers\u00e3o reimaginada do filme Futurista.<\/span><\/p>\n

Entre os artistas convidados para integrar o projeto[7] estavam as core\u00f3grafas e diretoras Rosane Chamecki e Andrea Lerner, que trouxeram o cineasta Phil Harder para colaborar em seu trabalho.<\/span><\/p>\n

Chamecki e Lerner iniciaram a transi\u00e7\u00e3o da dan\u00e7a para a dire\u00e7\u00e3o de filmes em 2007. No ano seguinte, elas receberam o pr\u00eamio Guggenheim Fellowship, o qual permitiu ao duo trabalhar em duas novas produ\u00e7\u00f5es curtametragem que dever\u00e3o estrear em 2010. Para a Performa 09[8], seu curta Conversa com Luvas de Boxe Entre Chamecki e Lerner<\/em><\/strong> reimaginou o segmento Discuss\u00e3o com Luvas de Boxe Entre Marinetti e Ungari<\/em><\/strong>, do Vita Futurista<\/em><\/strong>.<\/span><\/p>\n

Com um modesto cach\u00ea, o t\u00edtulo e o still<\/em> do segmento original, e um prazo aproximado de seis semanas para a realiza\u00e7\u00e3o do filme, Chamecki e Lerner \u2013 que criaram um curta inspirado em uma luta de boxe em 2007[9] \u2013 precisaram repensar sua rela\u00e7\u00e3o com o mesmo sistema de signos. Elas se perguntaram diversas quest\u00f5es relativas a como criar um trabalho significativo inspirado em um movimento art\u00edstico do qual elas tinham discord\u00e2ncias cr\u00edticas, j\u00e1 que as ideias sexistas e b\u00e9licas apresentadas pelos manifestos Futuristas n\u00e3o eram por elas endossadas.<\/span><\/p>\n

De acordo com Lerner[10], uma das preocupa\u00e7\u00f5es fundamentais estava relacionada com compreender como elas poderiam se voltar ao Futurismo, se olhar para o passado significava trair o pr\u00f3prio movimento que pretendia olhar apenas para o futuro. Contudo, imaginar como ser uma artista Futurista no presente, ao inv\u00e9s de se voltar ao passado Futurista, significava uma proposta provocadora e estimulante.<\/span><\/p>\n

A partir desta perspectiva, Lerner e Chamecki decidiram utilizar caracter\u00edsticas que eram apreciadas por Marinetti e os Futuristas, como velocidade, aus\u00eancia de drama, simultaneidade, dinamismo e viol\u00eancia. Elas apropriaram tais atributos sutilmente \u2013 e n\u00e3o obstante eficientemente \u2013 subvertendo a luta de boxe para recriar seu significado.<\/span><\/p>\n

Um filme cinest\u00e9sico, n\u00e3o um videodan\u00e7a<\/strong><\/span><\/p>\n

Nomeando seu trabalho Conversa com Luvas de Boxe<\/em><\/strong> ao inv\u00e9s de adotar o t\u00edtulo do segmento Discuss\u00e3o com Luvas de Boxe<\/em><\/strong> sugere uma abordagem diferenciada da viol\u00eancia sugerida pelo filme original.<\/span><\/p>\n

\"Imagens<\/a>
\n

still de 'Conversa com Luvas de Boxe'<\/p><\/div><\/span><\/p>\n

Reinterpretar a viol\u00eancia transgredindo sua pr\u00f3pria for\u00e7a revela um posicionamento forte. Esta qualidade foi conquistada no v\u00eddeo atrav\u00e9s de dois aspectos principais: a sobreposi\u00e7\u00e3o das performers olhando para a c\u00e2mera e a temporalidade revertida do v\u00eddeo.<\/span><\/p>\n

O v\u00eddeo de 4 minutos foi filmado por Harder com um fundo negro, mostrando Chamecki e Lerner centralizadas no enquadramento. Foram filmadas quatro tomadas de quatro minutos sem cortes de cada performer, somando oito tomadas. A partir deste ponto, as artistas sobrepuseram as diferentes combina\u00e7\u00f5es do material filmado e selecionaram uma tomada de cada uma delas para a edi\u00e7\u00e3o final.<\/span><\/p>\n

O filme come\u00e7a com uma luta de boxe que se transforma em dan\u00e7a. Vemos duas mulheres em posi\u00e7\u00e3o de luta encarando a c\u00e2mera e por extens\u00e3o, em direta rela\u00e7\u00e3o ao espectador. As imagens de Chamecki e Lerner s\u00e3o fundidas, criando simultaneamente unidade e difus\u00e3o de suas identidades. A a\u00e7\u00e3o da luta \u00e9 desenvolvida at\u00e9 o ponto em que as posi\u00e7\u00f5es de combate se transformam em movimentos de dan\u00e7a.<\/span><\/p>\n

O aspecto crucial do trabalho foi a invers\u00e3o do movimento do filme: o v\u00eddeo foi filmado com Lerner e Chamecki inicialmente dan\u00e7ando, e em seguida, desenvolvendo os movimentos de dan\u00e7a em movimentos de uma luta de boxe. Contudo, o filme foi editado mostrando a grava\u00e7\u00e3o de tr\u00e1s para frente e o que vemos \u00e9 uma sequ\u00eancia oposta, na qual a luta \u00e9 transformada em dan\u00e7a. Atrav\u00e9s desta manipula\u00e7\u00e3o temporal, o movimento violento do soco \u00e9 revertido, puxado em dire\u00e7\u00e3o \u00e0 lutadora que o lan\u00e7ou e n\u00e3o em dire\u00e7\u00e3o \u00e0 sua oponente (ou espectador\/a). Quando o ataque \u00e9 puxado de volta \u00e0 agressora e sutilmente transformado em dan\u00e7a, a viol\u00eancia \u00e9 subvertida atrav\u00e9s da sua pr\u00f3pria din\u00e2mica e velocidade.<\/span><\/p>\n

A posi\u00e7\u00e3o das performers em frente \u00e0 c\u00e2mera permite que o\/a espectador\/a seja envolvido\/a na a\u00e7\u00e3o, no sentido em que o\/a mesmo\/a est\u00e1 encarando as lutadoras e os movimentos desfocados de suas imagens dissolvidas e sobrepostas. Por vezes, isso me leva a sentir que fui eu \u2013 como observadora \u2013 que fui surpreeendida pelo soco e vi a oponente dissolver-se no corpo de uma outra mulher.<\/span><\/p>\n

Esta impress\u00e3o n\u00e3o acontece ao acaso. De acordo com Lerner, elas quiseram conquistar n\u00e3o apenas uma estranheza perceptiva com rela\u00e7\u00e3o ao movimento expressado no v\u00eddeo, mas tamb\u00e9m incitar uma certa fisicalidade em quem assiste ao trabalho, dando ao\/a espectador\/a a perspectiva do\/a advers\u00e1rio\/a da lutadora, de forma que o\/a mesmo\/a n\u00e3o assista a a\u00e7\u00e3o passivamente.<\/span><\/p>\n

A a\u00e7\u00e3o e a estrutura do v\u00eddeo s\u00e3o incrivelmente simples. Ainda assim, o trabalho reverbera uma resposta conceitural e f\u00edsica \u00e0 quest\u00e3o incial das artistas sobre como se remeter ao Futurismo: a velocidade t\u00e3o apreciada pelos Futuristas \u2013 uma qualidade mec\u00e2nica nova no in\u00edcio do s\u00e9culo XX \u2013 \u00e9 utilizada para reverter o passado em presente. Desta forma, chameckilerner realiza tanto um tributo aos Futuristas quanto uma declara\u00e7\u00e3o sobre a impossibilidade de seu desejo de destruir o passado, ao qual eles tamb\u00e9m agora pertencem.<\/span><\/p>\n

A fus\u00e3o das imagens das artistas confunde a identidade de cada uma delas, unificando Chamecki e Lerner e criando por sua similaridade f\u00edsica, uma dualidade significativa entre discuss\u00e3o e unidade: um reflexo do seu processo art\u00edstico. A dualidade\/unidade difusas pode tamb\u00e9m apresentar significados expandidos para aqueles que conhecem a hist\u00f3ria da chameckilerner. A companhia de dan\u00e7a dirigida por ambas as core\u00f3grafas apresentou o espet\u00e1culo-suic\u00eddio EXIT<\/em><\/strong> no The Kitchen, em Nova York em 2007, declarando o fim de sua parceria na dan\u00e7a[11]. Mais do que o fim, EXIT<\/em><\/strong> marcou sua transi\u00e7\u00e3o da cria\u00e7\u00e3o coreogr\u00e1fica para a cria\u00e7\u00e3o f\u00edlmica. Neste contexto, observar a luta de boxe \u2013 na qual cada soco se volta para a lutadora que o lan\u00e7ou –\u00a0 pode tamb\u00e9m sugerir que para as artistas, uma luta contra a outra equivale a lutar consigo mesma.<\/span><\/p>\n

Considerando que elas n\u00e3o criaram uma coreografia para a c\u00e2mera, mas um filme baseado em uma a\u00e7\u00e3o real, Lerner situa a cria\u00e7\u00e3o de Conversa com Luvas de Boxe<\/em><\/strong> <\/em>mais pr\u00f3xima a um conceito de live art <\/em>e n\u00e3o de uma aproxima\u00e7\u00e3o da videodan\u00e7a. Em entrevista concedida para este artigo, Lerner afirma:<\/span><\/p>\n

\u201cTrabalhar com filme est\u00e1 sendo uma extens\u00e3o do que est\u00e1vamos fazendo [na dan\u00e7a], mas estamos nos questionando sobre qual dire\u00e7\u00e3o tomar. N\u00f3s sabemos que h\u00e1 uma rela\u00e7\u00e3o cinest\u00e9sica que \u00e9 inevit\u00e1vel para n\u00f3s porque \u00e9 assim que vemos o mundo. Corpo e movimento s\u00e3o o foco dos nossos filmes at\u00e9 aqui. (…) Muitas pessoas nos questionam se estamos fazendo videodan\u00e7a. N\u00f3s n\u00e3o temos o m\u00ednimo interesse em fazer videodan\u00e7a. Estamos fazendo filmes.\u201d (LERNER, 2009)[12]<\/span><\/p>\n

Ela esclarece que seu trabalho com Rosane Chamecki sempre evoluiu de uma a\u00e7\u00e3o e n\u00e3o de uma coreografia ou narrativa. Mesmo na trajet\u00f3ria inicial da chameckilerner, suas coreografias eram criadas a partir de uma a\u00e7\u00e3o espec\u00edfica, a qual impunha o desenvolvimento da partitura coreogr\u00e1fica da dan\u00e7a.<\/span><\/p>\n

Considerando que um dos fatores cruciais para a performance e em trabalhos de live art<\/em> compreende um estado diferenciado de presen\u00e7a incorporado pelo\/a performer, Chamecki[13] expande a quest\u00e3o apontando que em seus trabalhos de dan\u00e7a, a chameckilerner sempre buscou reviver em frente ao p\u00fablico o momentum<\/em> no qual em seus ensaios este estado de presen\u00e7a dos\/das performers era inquestion\u00e1vel. Contudo, reincorporar esta presen\u00e7a n\u00e3o \u00e9 algo facilmente conquistado, e em certos casos, este estado raramente ressurge em trabalhos que s\u00e3o reapresentados. A partir deste ponto de vista, ela compreende que criar para filmes lhes permite capturar esses momentos, os quais de outra forma, se esvaneceriam sem ser testemunhados. Neste sentido, ela pondera que uma performance para v\u00eddeo pode, em alguns casos, conter mais presen\u00e7a viva do que uma\u00a0 performance ao vivo.<\/span><\/p>\n

Com Conversa com Luvas de Boxe<\/em><\/strong>, <\/em>chameckilerner criou uma reinterpreta\u00e7\u00e3o concisa e eficaz. Intercambiando difus\u00e3o e defini\u00e7\u00e3o de territ\u00f3rios para falar de sua pr\u00e1tica, <\/em>as artistas subverteram e recriaram significado para explicitar tanto a fragilidade quanto a for\u00e7a dos conceitos Futuristas em um tempo no qual a viol\u00eancia, a velocidade, a din\u00e2mica e a simultaneidade conquistaram dimens\u00f5es e influ\u00eancia completamente novas na vida contempor\u00e2nea.<\/span><\/p>\n

::<\/span><\/p>\n

Futurist Life Redux <\/em>foi visto em 16 de novembro de 2009 no Anthology Film Archives,\u00a0 em Nova York, como parte da Performa 09.<\/span><\/p>\n

Cristiane Bouger<\/a> \u00e9 diretora de teatro, dramaturga, performer e v\u00eddeoartista. Vive e trabalha no Brooklyn, em Nova York.<\/strong><\/span><\/p>\n

[1] Na fonte consultada em ingl\u00eas, l\u00ea-se: \u201cthe destructive gesture of freedom-bringers\u201d (MARINETTI, 1909)<\/span><\/p>\n

[2] Na fonte consultada em ingles, l\u00ea-se: \u201c the world\u2019s only hygiene\u201d (MARINETTI, 1909)<\/span><\/p>\n

[3] Introdu\u00e7\u00e3o de RoseLee Goldberg nas Notas de Programa de \u201cMusic For 16 Futurist Noise Intoners\u201d. Performa 09 Commission. 12 de novembro de 2009. Na fonte original em ingl\u00eas, l\u00ea-se: \u201cFuturist Manifestos left no part of modern life untouched, probing and provoking, inventing and challenging, and proposing and projecting new ways to eat, sleep, fly and dream.\u201d<\/span><\/p>\n

[4] De acordo com o programa de Futurist Life Redux<\/em>, \u201cO filme de 40 minutos Vita Futurista <\/em><\/strong>estreou no Niccolini Theatre, em Floren\u00e7a em 1917.\u201d Na fonte original em ingl\u00eas, l\u00ea-se:\u00a0 \u201cThe 40-minute Vita Futurista<\/em><\/strong> premiered at the Niccolini Theatre in Florence in 1917.\u201d Performa 09 Commission Program,\u00a0 16 de novembro de 2009.<\/span><\/p>\n

[5] No Brasil um filme de 40 minutos seria compreendido como m\u00e9diametragem, mas esta classifica\u00e7\u00e3o inexiste nos padr\u00f5es internacionais.<\/span><\/p>\n

[6] Na fonte original em ingl\u00eas, l\u00ea-se: \u201cof at least eleven independent segments conceived and written by different Futurist artists.\u201d Performa 09 Commission Program,\u00a0 16 de novembro de 2009.<\/span><\/p>\n

[7] Futurist Life Redux<\/em> foi composto de trabalhos realizados por Aida Ruilova, Lynn Hershman Leeson, Michael Smith com Bill Haddad, Shannon Plumb, George Kuchar, Shana Moulton, chameckilerner (com Phil Harder), Ben Coonley, Trisha Baga, Matthew Silver e Shoval Zohar (The Future) e Martha Colburn.<\/span><\/p>\n

[8] Um trabalho comissionado pela Performa em parceria com SFMOMA e Portland Green Cultural Projects.<\/span><\/p>\n

[9] O curta integrou o trabalho de dan\u00e7a EXIT<\/em><\/strong>, apresentado no The Kitchen, em 2007.<\/span><\/p>\n

[10]\u00a0 Entrevista conduzida por Cristiane Bouger com Andrea Lerner para este artigo, em dezembro de 2009.<\/span><\/p>\n

[11] Embora a chameckilerner tenha apresentado o trabalho coreogr\u00e1fico Borbulho<\/em><\/strong> (Brasil, 2009) como um projeto especial, seus planos n\u00e3o s\u00e3o retornar \u00e0 coreografar.<\/span><\/p>\n

[12] Entrevista conduzida por Cristiane Bouger com Andrea Lerner para este artigo, em dezembro de 2009.<\/span><\/p>\n

[13] Conversa por telefone com Rosane Chamecki para este artigo, realizada em 17 de abril de 2010.<\/span><\/p>\n

Cristiane Bouger attendend Performa 09 – Visual Art Performance Biennial<\/a> and wrote about three works. The first text published at idan\u00e7a<\/strong> was about Meg Stuart and Trajal Harrell\u2019s Auf den Tisch<\/a>!<\/strong>. Here, she writes about Conversation with Boxing Gloves Between Chamecki and Lerner<\/strong>. The third text will be published soon.<\/em><\/span><\/p>\n

::<\/span><\/p>\n

100 years since futurism<\/strong><\/span><\/p>\n

Performa 09 \u2013 The Third New Visual Art Performance Biennial, directed by the art historian and critic RoseLee Goldberg, took place from November 1-22, in New York. In its third edition it celebrated the centenary of the publication of the Futurist Manifesto,<\/em> written by the Italian poet Filippo Tommaso Marinetti in 1909. <\/span><\/p>\n

Marinetti\u2019s manifesto was published in Paris on the first page of the daily newspaper Le Figaro<\/em> on February 20, 1909. The influential text would introduce one of the most provocative and radical artistic movements of the last century, leading the Futurist practices in the decades to follow. The Futurism was seminal in the development of performance works and avant-garde practices that were later originated. Nevertheless, manifesto and artistic movement were polemic not only because of their extravagant ideas, but also because of Marinetti\u2019s sexist and fascist perspective through which he exalted \u201cthe destructive gesture of freedom-bringers\u201d and praised war as \u201cthe world\u2019s only hygiene\u201d (MARINETTI, 1909).<\/span><\/p>\n

The revolutionary artistic ideas originated by the Futurists manifestos in Italy – a couple years before the World War I was launched – are controversial even nowadays. On the other hand, through the will to \u201cdestroy\u201d the past and scorn all established structures like museums and academies, the Futurists envisioned new directions to the art in the last century. As stated by Goldberg, \u201cFuturist Manifestos left no part of modern life untouched, probing and provoking, inventing and challenging, and proposing and projecting new ways to eat, sleep, fly and dream .\u201d[1]<\/span><\/p>\n

‘Vita Futurista’<\/strong><\/span><\/p>\n

Integrating the celebratory Futurist program of the biennial, the project Futurist Life Redux<\/em> took place, curated by Lana Wilson with Andrew Lampert. Inspired by Vita Futurista<\/em><\/strong> (1916), originally filmed by Arnaldo Ginna, [2] the project included eleven filmmakers and video artists. Each of them received the task of (re)creating one of the short films, which were ramdonly chosen based on the eleven different segments of the 40-minute feature,[5] from which there are no remaining copies. <\/span><\/p>\n

Vita Futurista<\/em><\/strong> was the only Futurist film ever made and it presented many of the ideas proposed in 1916 by The Futurist Cinema<\/em> manifesto, co-written by F.T. Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla and Remo Chiti.<\/span><\/p>\n

As stated in the program notes of Futurist Life Redux<\/em>, the original film was thought to be comprised \u201cof at least eleven independent segments conceived and written by different Futurist artists.\u201d Brief synopses of the segments and a few stills were the base for the contemporary artists to recreate their own re-imagined version of the Futurist film.<\/span><\/p>\n

Among the artists invited to be part of the project[3] were the choreographers and filmmakers Rosane Chamecki and Andrea Lerner who brought in Phil Harder to collaborate in their work.<\/span><\/p>\n

Chamecki and Lerner initiated the transition from dance to filmmaking in 2007. In the following year they were the recipients of the Guggenheim Fellowship, which allowed the duo to work on two new short film productions to premiere in 2010. For the Performa 09[4] commission , their short Conversation with Boxing Gloves Between Chamecki and Lerner<\/em><\/strong> re-imagined the Vita Futurista<\/em> segment Discussion with Boxing Gloves Between Marinetti and Ungari<\/em><\/strong>.<\/span><\/p>\n

Given a small budget, the title with an original still of their segment and a 6-week schedule to accomplish their assignment, Chamecki and Lerner – who had created a short film inspired in boxing fight in 2007[5] \u2013 needed to rethink their relation with the same signage. They asked themselves many questions concerning how to create a significant piece inspired in an artistic movement from which they had critical disagreements, since the sexist and pro-war ideas presented in the Futurist manifestos were not endorsed by the duo.<\/span><\/p>\n

According to Lerner [6], one of their fundamental concerns was related to how they could look back at Futurism, if looking at the past meant a betrayal to the movement itself, which intended to look only at the future. However, imagining how to be a Futurist in the very present, instead of revisiting the Futurism\u2019s past was a thought-provoking and exciting proposal.<\/span><\/p>\n

From this perspective, Lerner and Chamecki decided to use artistic attributes valued by Marinetti and the Futurists, like speed, abscense of drama, simultaneity, dynamism and violence. They appropriated those characteristics subtly \u2013 and indeed efficiently – subverting fighting to recreate meaning.<\/span><\/p>\n

A Kinesthetic Film \u2013 Not a Video Dance Work<\/strong><\/span><\/p>\n

Naming their work Conversation with Boxing Gloves<\/em><\/strong> instead of adopting the title of the segment Discussion with Boxing Gloves<\/em><\/strong> implied an altered approach of the violence suggested by the original film.<\/span><\/p>\n

Reinterpreting violence transgressing its own force is a strong statement. This quality was accomplished in the video through two main aspects: the overlapped position of the performers facing the camera and the reversed temporality of the video.
\nThe 4-minute video was filmed by Harder with a black background, showing Chamecki and Lerner centered on the frame. Four takes of four minutes with no cuts were filmed of each dancer, summing up eight takes. From that point, the artists overlapped the different combinations of footage they had at hand until selecting one take of each of them for the final editing.<\/span><\/p>\n

The film starts with a boxing fight that develops into a dance. We see two women in fight position, facing the camera and for extension, in direct relation to the spectator. The images of Chamecki and Lerner are merged, simultaneously creating unity and diffusion of their identities. The action of fighting is developed till the point the fight positions turn into dance movements.<\/span><\/p>\n

The crucial aspect of the work was the inverted movement of the film: the video was filmed with Lerner and Chamecki initially dancing, further developing the dance into a boxing fight. However, the film was edited showing the footage played backwards and what we see is an opposite sequence of a fight transformed into dance. Caused by this temporal manipulation, the violent movement of the punch is reversed, pulled towards to the direction of the fighter who threw it instead of to her opponent (or spectator). When the attack is pulled back to the aggressor and subtly transformed into dance, the violence is subverted using its own dynamics and speed. <\/span><\/p>\n

The performers facing the camera allow the spectator to be involved in the action, in the sense s\/he is facing the fighters and the blurred movements of their dissolved images. Sometimes it suggests that it was me \u2013 as the seer \u2013 who was hit by the punch and saw the opponent to dissolve into another woman\u2019s body.<\/span><\/p>\n

This impression does not happen by chance. According to Lerner, they wanted to attain not only a perceptual weirdness of the movement expressed on the video, but also to incite a certain physicality in the seer, granting the spectator the perspective of the fighter\u2019s adversary, in a way one cannot watch the action passively.<\/span><\/p>\n

The action and the structure of the video are incredibly simple. Still, it reverberates a conceptual and physical response to the artists\u2019 initial question about how to look back at the Futurism: the speed so valued by the Futurists \u2013 a new mechanical quality in that context – is used to reverse the past into present and in this regard, chameckilerner makes both a tribute to the Futurists and a statement about the impossibility of their radical wish to destroy the past, which they also now belong to.<\/span><\/p>\n

The merging of the artists blurs the identity of each of them, unifying Chamecki and Lerner and creating for their physical similarity, a meaningful duality of discussion and unity: a reflection of their artistic process. The blurred duality\/unity can also present expanded meanings for those who know the history of chameckilerner. The dance company directed by both choreographers presented the suicidal spectacle EXIT<\/em><\/strong> at The Kitchen, in New York in 2007, stating the end of their dance partnership [7]. More than an end, EXIT<\/em><\/strong> marked their transition from dance creation to filmmaking. In this context, observing their boxing fight \u2013 in which every punch movement returns to the fighter who threw it – can also suggest that for both artists to fight each other is equivalent to fight themselves.<\/span><\/p>\n

Considering they did not created the choreography for the camera, but rather a film based on a real action, Lerner situates the creation of Conversation with Boxing Gloves closer to a live art concept and not to a video dance approach. In an interview conceded for this article, Lerner stated:<\/span><\/p>\n

\u201cWorking with film has been an extention of what we were doing [in dance], but we are questioning ourselves about which direction we will head to. We know there is a kinesthetic quality that is inevitable for us because this is the way we see the world. So far, body and movement are the focus of our films. (\u2026) A lot of people ask us if we are now making video dance works. We do not have any interest in making video dance. We are making films.\u201d (LERNER, 2009)[8]<\/span><\/p>\n

She clarifies that her work with Rosane Chamecki always evolved from an action and not from a choreography or narrative. Even in chameckilerner\u2019s earlier trajectory, their choreographies were created from a specific action that imposed the development of the dance score.<\/span><\/p>\n

Considering that one of the crucial factors in performance and live art works is centered in a differentiated state of presence embodied by the performer, Chamecki[9] expands the approach pointing out that in their dance works, chameckilerner always attempted to recapture in front of the audience the momentum when, in their rehearsals, liveness and presence where unquestionable. However, this re-embodiment is not something easily achieved, and sometimes it hardly reoccurs in the works that are re-presented. From this perspective, she understands that creating for film allows them to capture these moments, which otherwise would vanish unseen. In that sense, she ponders if a performance for video can, in some cases, comprise more \u201cliveness\u201d than a live performance.<\/span><\/p>\n

With Conversation with Boxing Gloves <\/em><\/strong> chameckilerner created a concise and effective reinterpretation. Interchangeably blurring and defining their practice, the artists subverted and recreated meaning to explicit both the fragility and strength of Futurist concepts in a time in which violence, speed, dynamics and simultaneity achieved completely new dimensions and influence in contemporary life. <\/span><\/p>\n

::<\/span><\/p>\n

Futurist Life Redux<\/em> was seen on November 16, 2009 at Anthology Film Archives, as part of Performa 09.<\/span><\/p>\n

Cristiane Bouger<\/a> is a theater director, dramaturge, performer and video artist. She lives and works in Brooklyn. <\/strong><\/span><\/p>\n

<\/span><\/p>\n

[2] According to the program notes of Futurist Life Redux, \u201cThe 40-minute Vita Futurista premiered at the Niccolini Theatre in Florence in 1917.\u201d Performa 09 Commission Program, November 16, 2009.<\/span><\/p>\n

[3] Futurist Life Redux was comprised of works by Aida Ruilova, Lynn Hershman Leeson, Michael Smith with Bill Haddad, Shannon Plumb, George Kuchar, Shana Moulton, chameckilerner, (with Phil Harder), Ben Coonley, Trisha Baga, Matthew Silver and Shoval Zohar (The Future) and Martha Colburn.<\/span><\/p>\n

[4] A Performa Commission with SFMOMA and Portland Green Cultural Projects.<\/span><\/p>\n

[5] The short film integrated the dance work EXIT, presented at The Kitchen, in 2007.<\/span><\/p>\n

[6] Interview conducted with Andrea Lerner for this article in December 2009.<\/span><\/p>\n

[7] Even though chameckilerner presented the dance work Borbulho (Brazil, 2009) as a special project, their plans are not to choreograph anymore.<\/span><\/p>\n

[8] Interview conducted by Bouger with Andrea Lerner for this article in December 2009. In the original conversation in Portuguese, she says: \u201cTrabalhar com filme est\u00e1 sendo uma extens\u00e3o do que est\u00e1vamos fazendo [na dan\u00e7a], mas estamos nos questionando sobre qual dire\u00e7\u00e3o tomar. N\u00f3s sabemos que h\u00e1 uma rela\u00e7\u00e3o cinest\u00e9sica que \u00e9 inevit\u00e1vel para n\u00f3s porque \u00e9 assim que vemos o mundo. Corpo e movimento s\u00e3o o foco dos nossos filmes at\u00e9 aqui. (…) Muitas pessoas nos questionam se estamos fazendo v\u00eddeodan\u00e7a. N\u00f3s n\u00e3o temos o m\u00ednimo interesse em fazer v\u00eddeodan\u00e7a. Estamos fazendo filmes.\u201d<\/span><\/p>\n

[9] Conversation by phone with Rosane Chamecki for this article on April 17th, 2010.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em seu segundo texto sobre a Performa09, Cristiane Bouger escreve sobre ‘Conversa com Luvas de Boxe’, filme da dupla Chamecki e Lerner desenvolvido a partir das ideias propagadas pelo Movimento Futurista. 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