Taking queues from Busby Berkleyʼs synchronized swimming spectacles, Davide Balula boils down the decadence to a simplistic geometry and suggests that we acknowledge the passage of time: over the course of the hour, the dancers mimic the rotation of the hands of a clock.
Aligned in a circle and seated facing outwards, each member of the clock perform one move per second, one after the other, creating a single wave of motion.
Collectively, in succession, the dancers merge into a single entity, feeling the wave almost psychically as the movement is transmitted around the circle, passing the energy from one person to the next. But each dancer (second), is autonomous. We really understand the dancers as individuals when for one minute they step out of the circle and gyrate, curl, or in some cases just stand, until the clock comes around again and he or she is replaced by the neighboring dancer.
Davide Balula (b. Villa dum Santo, Cota, Portugal, 1978) works in a variety of media including sound, electronic and visual devices, installation and drawing. Informed by his electro-acoustic training, his visual practice investigates chance encounters, random patterns and the passage of time. He has released folk songs and electronic compositions on the French label Active Suspension, and is involved in Labranisch, an electronic music trio with O.Lamm and Domotic, as well as projects within the French electronic and improvisation music scene. His work can be seen and heard in many different venues such as Centre Pompidou, Paris, Musée d’Art Moderne de la Ville de Paris; Museums Quartier, Vienna; Museum of Contemporary Art of Kyoto; Museum of Contemporary Art of North Miami; Total Museum, Seoul; and other locations in Sweden, Portugal, Italy, Switzerland.
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