Thierry De Mey:
It is essential that the artistic forms which are closest to new technology interact directly with dance, not with the goal of replacing the body with its virtual image, but to explore further possibilities in the hope of fresh breakthroughs in their specific field. On this hinges our representation of the human form, which plays a central role at the heart of every evaluation model.
Perhaps these technologies can become the allies of dance, leading to a greater understanding of the scripting of the body movement, whose beauty, prisoner of the theatrical moment, can barely be comprehended and apprehended in its most complex and richest forms...
Film, which fuses several technologies and several sometimes heterogeneous forms of writing, is the medium that has most powerfully raised the issues now topical in “multimedia.”
And a film of dance – or, put better, of movement – explores these issues even more incisively. A dilemma that a dance-film director inevitably faces is whether or not to “violate” the dance space: either the adopted viewpoint will aim for a certain objectivity and respect frontality on stage and exteriority in relation to the choreographic writing, or the camera will “enter the dancing” and become a full partner.
Another dilemma, no less fundamental and deliciously paradoxical, is this : what will we show, dance (writing) or the person carrying it (in their body)? “How can we know the dancer from the dance?” as Yeats asked.
Film is an art of movement. In a dance film, the two disciplines of movement come face to face; they run the risk of cancelling each other out, but may be mutually reinforcing – and, at best, fuse into a new form that is all the more overwhelming because, in this synthesis of musical and plastic disciplines, the human body plays the central role.
This point seems to raise many theoretical considerations.
There are floating dimensions that you can journey through in one direction or another (those in our space, for example), others partly jammed (like irreversible time), and then those delivered en bloc (the constants of the universe, gravity, the speed of light, etc.)
But the real crucial point of this multi-dimensional puzzle is the points that attach one dimension to another... the present, for example. Presentness would seem to be what attaches the dimensions of space and time, and we experience it most directly in our body's movements.
Thierry De Mey’s installation from inside is on view in kavernen from july 3 to 19