We are currently waiting for the result of an application for a licence from the local police authorities to perform within the city of Venice (singing! the authorities request the addition of singing as there is no category for only dancing ...) Jean-Ulrick Désert has recently arrived from Berlin, making our strategic working group more complete.
On Wednesday 14 May 2014, we experimented with the possible tech equipment in C32, a very friendly cooperative dance-movement space established in Mestre off the mainland of the Venitian islands, via choreographer Marianna Andrigo. Upon returning to the Emily Harvey Foundation A.I.R. apartments we recorded the first preliminary video experiments (for framing) and dance on the illuminated Fishmarket near the Rialto bridge. It was nearly empty so there was a lot of space available for experimenting with dance movements while allowing the camera to take on its role in documenting the spontaneity of the improvisational work that serves as the basis to Sokrates. At one moment I made a conscious decision to 'repeat' how to move away from the dark-green raised-curtain and the energy of my movement changed. There was very strong sense of poetry in the atmosphere, created by the movements and I could feel the different possible decisions very strongly in their difference. Two tourists came and watched for a moment, then left after giving a welcomed applause.
I realized once more how Sokrates is based on the creation of a portrait of the moment in the moment, comparable to the way Gertrude Stein wrote her portraits of people and objects in the 20th century. Similarly, just like the philosopher Socrates, who realized his philosophy in conversations with others, I have to face the confrontation of relating to people who are passing by. It is up to me to decide how directly I make the contact with them - again - at any moment.
At any moment when you are you you are you without the memory of yourself because if you remember yourself while you are you you are not for purposes of creating you.
(Gertrude Stein, What are Masterpieces and Why are There So Few of Them, 1936)
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