PERFORMANCES
VOLARE
Volare is a voice that in Spanish produces multiple evocations to the show we present.
To fly is to defeat the laws (of gravity, of grammar). Under the aura of the light beating of the wings of the body and the soul, its fleeting movement, perishable, we lay the projects we selected.
To fly is the first metaphoric commandment of the modern artist, the Icaric genius. This tradition prevails
until popular actuality when to blow one’s mind is the objective of music and other intoxications.
In poetry, in art, to fly is synonymous of inspiration, of risk, of play.
The spirals of flight are unforeseeable when we throw ourselves into the arms of the wind. It is the air currents that take us to hazard. Warm air tends to elevate us, cold air to descend.
Flight is not only soft, pirates, indians, Arabs blow fortresses in old films.
The Latin infinitive (the infinitive in eternal present) of “to fly” is VOLARE, the first declension, the same as AMARE (to love)
The dream of flying is one of the most intense dreamlike experiences.
VOLARE is, of course, a song. Oh! oh!
Roberto Jacoby / cv / Vivi Tellas / cv /
Curators
PERFORMANCES
+ information / spanish pdf
PROGRAM
click on the artists to see + images
Thursday 23 /20.15 hs
Rosa Chancho
Performances
Friday 24 / 19.00 hs
Tomás Espina
Performances
Saturday 25 / 19.00 hs
Diego Melero
Performances
Sunday 26 / 19.00 hs
Monday 27 / 19.00 hs
Tuesday 28 / 19.00 hs
Wednesday 29 / 19.00 hs
Thursday 30 / 19.00 hs
VIVO DITO
Performances from Argentina
www.vivodito.org.ar
Not everything in VOLARE will be ephemeral.
VIVO DITO, a research on performances in Argentina is online.
VIVO DITO, a tribute to the actions of Alberto Greco in Spain, France, United States and Argentina since 1961.
Starting with Macedonio Fernández or Omar Vignole’s poetic walks, “the man with the cow”, and up to the distribution of Evita’s cards by Masotta and Sebreli at Filo.
During the ‘60s: Alberto Greco’s Vivo Dito; Vigo’s urban interventions; Minujin’s and Masotta’s happenings and anti-happenings; Media Art; the micro-events by Marilú Marini, Rodríguez Arias, Juan Stoppani, Dalila Puzzovio, Edgardo Giménez, Ricardo Carreira, Bonino, Peralta Ramos, García Uriburu and many others.
The ‘70s with Victor Grippo and his bread oven. Later, the walks around the
Pirámide de Mayo by the Mothers of the Plaza; “Plauto” or the performances by the Redonditos de Ricota confronted the last military dictatorship, and near its end the emergence of the Ring Club and Vivi Tellas’ Bay Biscuits, and also the Einstein Café.
Along with democratic elections came Cemento (UORC-La Negra), once again Carreira and the street-political events by Capataco, Bicicletas a la China, Liliana Maresca, Raquel Tella; Arturo Carrera with Emeterio Cerro and the Berninas, Bolivia and the Age of Communication (De Loof, Cristian Dios and company), the Asperges, a period that ends up around 1993 or 1994.
With the emergence of new ways of demonstration, new political events with the denunciations by HIJOS, in which GAC and Etcétera also took part. The political-artistic street practices increased around the outbreak of 2001, together with other kind of more joyful expressions, not only in Buenos Aires but also in different places along the country: Tucumán, Córdoba, San Juan and Rosario -persistent performance’s birthplaces.
The archive is a tense present, a current moment.
