Performative
Contours origins in the complexity of the human ability to move. Motion is
living architecture, it is created with human movements and is composed of
paths that draw shapes in space. These ‘trace forms’ emphasize the
spatio-temporal energetic event patterns and describe the relationship of human
beings to the space that surrounds them.
From
this idea, the dancer, choreographer and architect Rudolf von Laban developed
in the 1920s the concept of the kinesphere, the space surrounding the dancer.
The shape of the kinesphere is the result of the swing scales, the movements of
the torso and arms forwards and backwards, to the right and to the left,
downwards and upwards. As a space and as a progression formula of
temporal-spatial experience, which both serves to generate movement and is
itself developed from it, the kinesphere represents a model that by no means
exists independently, but is constantly shifting, meeting with others,
intersecting and being transformed by them. The volatility of dance, which is
heightened by this complexity, leaves voids. The contours of this loss,
however, are a lasting experience beyond the fleetingness of movement. One’s
own memory of tactility, sense of balance and movement plays an essential role.
Performative Contours focuses on this experience and
transforms fleetingness into permanence in motion. An immanent aesthetic is
thus generated from the transcendent gradation. The visualization of the
invisible intersects with the physical presence of the immaterial. As such, the
static sculptures manifest dynamic movements and are equally unsteady in their
relationship of man, time and space The creation process is part of this
dichotomy and transformation between different aggregate states that generates
multiple identities of the same. The analog, transient movements are captured
and preserved as digital traces. These imagined contours are developed through
dimensional steps from lines to surfaces and finally to volumes, which as
digital material form the basis for a further transformation: The transfer of
the data into a materialized motion. The different phenomenology of the
starting and ending point of this gradation thereby creates a multilayered
perceptual structure that confronts the viewer with one of the most fundamental
human actions and enables a differentiated spatial experience.
