RÉALITÉ & FICTION

REVOLUTIONS
HANNA SYBILLE MÜLLER
30 MINUTES
You are seated in a circle of spectators. The performer welcomes you, initiating soft turning movements that soon become full-bodied and later quite vigorous. Her dancing is rooted in somatic practices, stemming from deep within the body. As she moves, she sometimes talks about the ambiguity of the term “revolutions”, ideas gleaned from interviews with a political scientist, a mathematician, a revolutionary, and a dervish dancer. During the performance, a writer pens texts en direct, and the dance briefly becomes a duet. Eventually, the choreography evolves into disarray as the dancer gives up control and invites the audience to join in the action. After all, revolution means turning things upside down.

GHOSTBOX
CAMILLE LACELLE-WILSEY & ERYN TEMPEST
25 MINUTES
The darkroom is the point of departure for this cross-pollination between dance, photography, and film. There are inquiries into the slow reveal, appearance and disappearance. You see fragments of bodies, shadows, and some form of emphatic, obsessive movement. The artists use saturated red light interspersed with bright white squares to push you to the outer limits of your perception, to engage with images just beyond your sensorial grasp. There are times and spaces of darkness in which you can’t see them but can still hear them. This piece investigates the methods and mechanisms of the photographic and cinematic processes in relation to notions of transformation and interference. At the interstices between sense and intuition, the perception of the invisible presence on the film wavers.