http://cargocollective.com www.morgan-nardi.com Thu, 10 Nov 2011 15:20:51 +0000 http://cargocollective.com en http://cargocollective.com/morgan-nardi/SongOfMyself http://cargocollective.com/morgan-nardi/following/morgan-nardi/SongOfMyself Thu, 10 Nov 2011 15:20:51 +0000 www.morgan-nardi.com 2271754 <img src="http://payload.cargocollective.com/1/5/166635/2271754/HL_SongOfMyself_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271754/HL_SongOfMyself_o.jpg" align="left" /> “I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.” (WALT WHITMAN) Duration: ca. 65 Min. Choreography: Morgan Nardi Dance: Kathrin Heide, Barbara Schröer, Alfonso Bordi, Andreas Simon Visual Art: Naoko Tanaka Soundarrangement: Andrei Loginov Lighting: Gernot Schmiedberger Costume: Cecilia Cecci From the horizontal and vertical perspective there is a search for where original phenomena intersect and connect. Colors, positions and directions mutally supplement, cause and affect each other. Individual and collective “country” maps are thereby written, which determine the demarcation, direction and goal of the development of all the searchers and vice versa. <img src="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271754/SongOfMyself_04_o.jpg" align="left" /> PRESS Songofmyself plays with the idea of a blank sheet or a sheet continually being rewritten, and it richly illustrates the art of writing on the natural law of transformation and creation. The body and the private sphere as a mirror image of the world. GESA PÖHLERT Morgan Nardi and Naoko Tanaka use reality as a springboard into another fantastic world. Rudimentary, limited dance steps illustrate the topic of the title. What for Whitman is the celebration of the universal cosmic “myself” Ludica reinterprets as the celebration of the “myself” in conflict with other individuals. THOMAS HAG http://cargocollective.com/morgan-nardi/W-Double-You http://cargocollective.com/morgan-nardi/following/morgan-nardi/W-Double-You Tue, 08 Nov 2011 13:13:44 +0000 www.morgan-nardi.com 2271762 <img src="http://payload.cargocollective.com/1/5/166635/2271762/HL_DoubleYou_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271762/HL_DoubleYou_o.jpg" align="left" /> Duration: ca. 60 Min. Choreography: Morgan Nardi Dance: Nina Patricia Hänel, Coralie Ladame Visual Art: Naoko Tanaka Lighting: Marco Wehrspann, Marc Brodeur Music: Jörg Ritzenhoff Costume: Jens Hesse Co-Produced by: tanzhaus nrw, Düsseldorf and the Grand Théâtre de la Ville de Luxembourg. Promoted by: Office for Culture of the state capital Düsseldorf, the Kunststiftung NRW and Fonds Darstellende Künste. Two dancers clothed in white move in a small black space that resembles a photographic darkroom, so the spectators can concentrate their attention on the two figures as if they are watching through a magnifying glass. The dance is not a duet in the narrow sense, but rather a curious play on the number two and all of its implications: as a doubling of identity, as opposition, and as a symbol of ambivalence, dualism and complementarity. The main emphasis of this play on the number two, for me, is to create a dialogue between western and eastern ways of thinking, between differentiating and connecting patterns of thought. According to eastern philosophy, these two individuals are essentially the same; that is, two phenomena can be observed in reality, but their fundamental being is nevertheless a united whole. The dance shifts between these two opposing poles, as it represents both a confrontation of the incompatible and the achievement of unified perfection. It is important to me to integrate these two positions in reality. In front of the supposedly empty background between these two figures the colourful spectrum of diversity is thus illuminated. <img src="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271762/DoubleYou_03_o.jpg" align="left" /> PRESS DANCE AND ITS QUESTIONING DUALITY Alter ego and ambiguity dominate the most recent piece by two unique artists, two protagonists united in an incomparable experience: a choreographer chooses to collaborate with a sculptor and painter; the dance and its silhouette emerge out of the mysterious formulation of questions. Like Cassiopeia, the ambiguous constellation that we can be read in one direction the same as another, it represents the doubling, the shadow, the counterpart of the self: that is what constitutes the atmosphere of this new piece, which was written together by four hands for two bodies. A hybrid piece with two heads, which was conceived by the choreographer Morgan Nardi and the sculptor Naoko Tanaka. An unusual encounter, which already began with the previous piece by this two-headed hydra, “Songofmyself” in 2003, continues here during an unusual exhibition of dance and video, sculptured space and dancing bodies. CAPTIVATE THE EYE Two dancers clothed in white in a completely darkened, impenetrable black space. The spectator employs extreme concentration to attempt to focus his eyes on these barely perceptible bodies, whose contours rise up and are gradually exposed or presumably unveiled thanks to the spectator’s exertions… The forms slowly emerge, assert themselves, rise up, and in the process they go a long way towards creating a strange, spectral atmosphere, like something from the realm of the supernatural or the virtual. As incomprehensible phantoms, magical and magnetic ectoplasms, the dancers move according to their creators, who are united here through their scenographical spiritual affinity as well as their geographical proximity: Nardi and Tanaka work in the productive contemporary art movement in Düsseldorf, and their artistic work is interdisciplinary, multidisciplinary, and all-encompassing. The dance emerges, doubled, producing the sensation of vertigo with an echo, like a mirror image or a shadow. In striving towards remanence, reproduction, and doubling every gesture becomes a representation of the other without ever being a representation or reproduction of the other. Industrial secret, alchemy, handwriting of one and the other – this dreamlike choreography is a doubling of identity as well as a metamorphosis: ambivalence, ambiguity, appearance – everything comes together here in order for the real to merge with the unreal world, and far from its external appearance the end product takes stock of the cultural blending and crossing between the Orient and the Occident here. This crossing between the two is the bipolarity, the twin community, the permanent state of transition. Like a dialogue between dance and trance, between realm image and artificial image, video or digital, the piece conveys the impression of a slow glide, through which our understanding of time and space is overwhelmed by a disorientation that deceives the senses. The spectator does not trust his eyes. It is a waking dream that one sees in breathtaking dream images. GENEVIÈVE CHARRAS, LA VOIX DU LUXEMBOURG, 22. OCTOBER 2005 http://cargocollective.com/morgan-nardi/Des-Hommes http://cargocollective.com/morgan-nardi/following/morgan-nardi/Des-Hommes Tue, 08 Nov 2011 13:13:43 +0000 www.morgan-nardi.com 2271767 <img src="http://payload.cargocollective.com/1/5/166635/2271767/HL_DesHommes_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271767/HL_DesHommes_o.jpg" align="left" /> “If you want to build a ship, don't start by collecting wood, cutting planks and allocating tasks, but rather awaken in people a longing for the wide endless ocean.” (ANTOINE DE SAINT-EXUPÉRY) Duration: ca. 65 Min. Choreography/Dance: Morgan Nardi, Andreas Simon Visual Art: Naoko Tanaka Live-Percussion Waldo Karpenkiel Light-/Stage Equipment: Reinhard Lange Soundarragement: Christoph Klimke Co-Produced by: Fabrik Heeder, Krefeld Promoted by: the Office for Culture of the city Krefeld in conjunction with the “fused-TanzKunst” Festival THE STORY: With a travelling gaze, not lingering but rather constantly searching, the interior of memories are examined. By returning to the self, to a time that seems lost, the man following his desire becomes the instrument leading him towards the highest state of fulfilment. Truth does not need proof; it involves reducing something to its ultimate simplicity. One can only understand the world through one’s own experiences, and here I show what I experience. <img src="http://payload.cargocollective.com/1/5/166635/2271767/DesHommes_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271767/DesHommes_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271767/DesHommes_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271767/DesHommes_02_o.jpg" align="left" /> PRESS PRIMITIVE DANCES IN A TENT AND CAVE Many things are simple and beautiful in their simplicity, yet one seldom encounters such things in our excited times. Two dancers meet with a percussionist; two movement artists encounter the origin of all movement: rhythm. The Culture Bureau’s “TanzKunst” series “fused” made possible the meeting between Morgan Nardi’s company Ludica and the Krefeld drummer Waldo Karpenkiel, which resulted in the piece “des hommes” (“Men”) that is currently premiering in the Fabrik Heeder. Ludica consists primarily of Morgan Nardi and the Japanese artist Naoko Tanaka, whose videos have always played a major role in their previous pieces. This is not true of “des hommes,” although the use of projections and above all a certain similar technique is also important here. Andreas Simon is the second dancer next to Morgan Nardi in “des hommes,” and Karpenkiel provides a wide range of instrumentation using various drums, cymbals and gongs live on stage. One can visualize a trip to the past in the piece, a recollection of primitive dances. A (nomad’s) tent and a kind of “cave scene” reinforce this idea, as does the simplest of all projection technologies. On the wall of the tent, and later on a large piece of balloon fabric that serves as the sky and also at the end – hanging down vertically – separates the spectators from the stage, Naoko Tanaka projects shadow images. Karpenkiel is integrated into the stage performance and does not only stand behind his im-pressive set of instruments on the right edge of the stage. At one point he drives (in the true sense of the word) Morgan Nardi in front of him by shaking a tambourine. In the “cave scene” the percussionist sits on a slit drum, elicits a soft beating melody from it, and sings. Karpenkiel “tells” a story here about rhythm, while the dancers sit around the campfire before him and listen. Rhythm and movement meet one another; Karpenkiel’s collaboration with the dancers thus becomes the topic of their collective piece. Only the beginning, which persists too long in the atmospheric, seems a little unsuccessful, but otherwise the simplicity of the structure, the intensity of the dialogue, the clarity of the images and the silence between the indi-vidual scenes, which is meditative but not without tension, are gripping. Everyone justly deserves heartfelt applause. KLAUS-M. SCHMIDT, WZ KREFELD, 21. NOVEMBER 2005 http://cargocollective.com/morgan-nardi/Koko-Doko http://cargocollective.com/morgan-nardi/following/morgan-nardi/Koko-Doko Tue, 08 Nov 2011 13:13:42 +0000 www.morgan-nardi.com 2271772 <img src="http://payload.cargocollective.com/1/5/166635/2271772/HL_KokoDoko_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271772/HL_KokoDoko_o.jpg" align="left" /> Duration: ca. 60 Min. Choreography and Dance: Ikue Nakagawa (J/F), Frank Micheletti (F) and Morgan Nardi (I/D) Visual Art: Naoko Tanaka (J/D) Live Music: Miguel Constantino (Audiopixel) (F) Organisation: Martin Brüggemann Co-Produced by: Grand Théâtre de la Ville de Luxembourg, TEMPS D'IMAGES – tanzhaus nrw Düsseldorf, TEMPS D'IMAGES – La Ferme du Buisson. In Collaboration with: Commedia Futura, Hannover Supported by: the Prime Minister of the Nordrhein-Westfalen, the Office for Culture of the state capital Düsseldorf and the Kunststiftung NRW, the Ministry for the Culture and the Communication/DRAC Provence-Alpes-Côte d’Azur, the General Council of Var and the Region Provence-Alpes-Côte d’Azur and the city of Toulon. This event was made possible by the NATIONAL PERFORMANCE NETWORK with funds provided by the federal government's office for culture and media, and by the ministries of culture and art of the federal states." THE STORY: The project searches for its place at a space that is vague. Fluid. Like a writer or a painter in front of the blank paper, a musician confronted with silence, a dancer or choreographer enters the empty space with both horror and hope. Like everybody else, the artist knows the stressfull force of having to do some-thing. You do what is necessary, the result is ok, but from time to time a desire sneaks around the corner: the wish of the Other Way. This is why in summer 2005 four participants of the European artists’ co-operation project COLINA in tanzhaus nrw in Duesseldorf decided to spend the given time in the studios together without big concepts or aims. Out of the pleasure to simply try things out there came about small scenes and feathery images in a space filled with white drapery. Floating and playful, the first elements of KOKO DOKO sounded like harmony and a little crazyness. DANCE INSTALLATION: Frank Micheletti and Ikue Nakagawa of Kubilai Khan Investigations from Toulon/France, Morgan Nardi and Naoko Tanaka of Ludica from Duesseldorf/Germany and, new in the team, the Portuguese-French musician Miguel Constantino construct and expand KOKO DOKO the following summer 2006. This should be taken literally: the form is assembled from small parts, and at the same time it grows by its own means. The room makes life possible and protects it, and at the same time the room is a product of its inhabitants, always changing. Everything here is laid open: movement and manipulation, light and shadow, music and projections. All making is visible on stage. And inspite (or because) of that, what happens here is like a philosphy of creation or like a dream of appearing and disappearing, of forward and backward, of colour and emptiness, being here and away. The dance, the images, the views and looks and sounds will tell stories from outside and inside the room. Their threads will cross each other like the lines in a crystal. Memories are spaces, too. THE SPACE: KOKO DOKO found a concept in the equipment of the space. It refers to the traditional Japanese architecture which developed in the 12th century the style “shindenzukuri”: a big open room without separating walls, without fixed partitions. According to requirements or circumstances (seasons, guests ect.) the room was adapted harmoniously by moving Tatami mats or mobile walls – a kind of staging. In KOKO DOKO a wooden construction is hanging in the air. It reproduces the proportions of a Tatami floor: rectangles laid out side by side. The lighting from underneath makes them reflect into the space, and so a kind of illusionary Tatami landscape appears on the ground. With this construction and other elements of the stage design the performers can modulate the space in which they move. They manipulate elements such as spotlights, and by this they constitute situations of immaterial space. With simple means, i.e. light, shadow, colour and movement they create dimensions, directions and atmospheres of the space. The creation and change of space can be shown as a process. The question “Koko Doko – where is here?” is being formulated in an experimental way on stage and by the stage itself. This project is co-created by LUDICA. collective from Düsseldorf (NaokoTanaka, japanese visual artist and Morgan Nardi, italian choreographer) and Kubilai Khan Investigations, located in the South of France (Ikue Nakagawa, japanese dancer and Frank Micheletti, french choreographer/dancer). The 4 artists met in Düsseldorf in the summer 2005, during the Colina project (artist laboratory of exchange for different artistic mediums). They invited Miguel Constantino (Audiopixel) to perform live new compositions. Their similar research territories and complementarity naturally lead them to develop this project together. Started at the Tanzhaus, in the summer 2005, the work will continue in different residencies in the summer and autumn 2006: Düsseldorf, Hannover, Paris, where the premiere will be presented at the Festival Temps d’images- Arte- La Ferme du Buisson. <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271772/KokoDoko_06_o.jpg" align="left" /> PRESS ABANDON FIRM GROUND In the beginning the light arranged precisely by Naoko Tanaka on a wooden construction suspended over the dance floor was based on Japanese floor mats or Tatamis. An invitation to abandon firm ground. About 40 visitors in the sold-out Studio 6 of the Tanzhaus NRW intently follow the piece “Koko Doko” (“Where is here?”), a production of the group Ludica (choreography: Morgan Nardi, media art: Naoko Tanaka) and the company Kubilai Khan Investigations, which is part of the Temps d’Images Festival. Five participants play on the stage, which is decorated with neutral white curtains – an ideal projection surface for the dancers Ikue Nakagawa and Frank Micheletti (Kubilai Khan Investigations). While Nardi and Tanaka operate the projector and lights, Miguel Constantino accompanies the dance installation using guitar and effects devices with subtle arrangements that vary from tender to aggressive. The decision of which optical attractions to follow is already forced on the viewer in the first few minutes. The apparent? The real? The films, which are initially projected on small pieces of fabric, grow on larger backgrounds and mix with the accessories carried by the participants into these prepared images. Are the monumental shadows forming on the back wall the event, or the actors in the foreground? The latter leave the stage again and again, as if washed in or blown out. The scenes develop fluidly; a prism held into the light provokes a spontaneous scene change – it casts a picture of two skiers, which is initially tiny. This theme is also addressed through dance, and the observer effortlessly adjusts to the new image. It is enjoyable to follow the densely packed ideas associatively rather than narratively. The excitingly staged theme “light and shadow” ends with the use of a small lamp, which illuminates Nakagawa’s heart before the audience and artists find themselves surrounded by woods again. A beautiful image – after many other beautiful ones. REGINA MATTHES, WZ DÜSSELDORF, 11.11.06 http://cargocollective.com/morgan-nardi/Anmerkung-134 http://cargocollective.com/morgan-nardi/following/morgan-nardi/Anmerkung-134 Tue, 08 Nov 2011 13:13:41 +0000 www.morgan-nardi.com 2271776 <img src="http://payload.cargocollective.com/1/5/166635/2271776/HL_Anmerkung134_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271776/HL_Anmerkung134_o.jpg" align="left" /> “In the name of simple people, that poverty has maintained pure In the name of the grace of the dark century In the name of the scandalous revolutionary power of the past.” (PIER PAOLO PASOLINI FROM HIS DOCUMENTARY FILM „THE WALLS OF SANAA“, 1970-1971) Duration: ca. 70 Min. Choreography: Morgan Nardi Visual Art: Naoko Tanaka Dance: Anneliese Soglio, Francesco Pedone, Alessio Castellacci Music: Alex Goretzki Dramaturgy: Christoph Klimke Text: Heide Küsters (after Originals by P. P. Pasolini) Organisation: Martin Brüggemann Sponsored by: the Culture Bureau of Düsseldorf, the Art Foundation of North Rhine-Westphalia, the Prime Minister of North Rhine-Westphalia, Fonds Darstellende Künste e.V., Foundation Van Meeteren, Kunst- und Kulturstiftung der Stadtsparkasse Düsseldorf and the Italian Institut for Culture Köln. THE STORY: Inspired by the life and works of the Italian writer and film director Pier Paolo Pasolini, the Ludica group of artists has created a multi-faceted staging between light and shadow, text fragments, sound compositions, cinematic quotes, abstract projections and choreographic elements. Ludica juggles with the principle of discontinuity and creates images and spaces with its own artistic signature and in an associative manner, with which they approach Pasolini’s notional cosmos. The title “Anmerkung 134” (“Note 134”) relates to the chapter “Anmerkung 133” (“Note 133”) in the novel “Petrolio”, which Pasolini was unable to complete due to his violent death. <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271776/Anmerkung134_06_o.jpg" align="left" /> PRESS LUDICA – “ANMERKUNG 134” Pier Paolo Pasolini was a citizen and revolutionary, poet and communist provocateur, catholic and heretic. For this Italian intellectual (1922 – 1975), who polemicised against left-wing Fascism, contradictions abounded. His death was never explained: A convicted male prostitute withdrew his confession. The suspicion that it was a contract killing by the Italian secret service was never dispelled. Such a figure existing between culture and subculture with his longing for an original society rooted in the earth and his homosexual desire aroused by looking at the backs of the knees of boys playing football, naturally inspired someone such as Johann Kresnik. In 1986, he wrote a “Testament of the body” on the body of Pasolini and celebrated obscene black masses. The Italian-Japanese art collective, Ludica, is much more sensitive in this regard. The choreographer and dancer Morgan Nardi and the space and video artist Naoko Tanaka are content with a respectful glance at the life and work of the film maker and writer. They collected splinters, astheticised and joined them to an image cosmos of beguiling visual art, dance, text and sound. The audience pushed to the edge like the population of the Italian suburbs, to whom Pasolini devoted his critical social writings, is assigned the role of an extra by the artist duo. Ludica’s Performance “Anmerkung 134” refers to chapter 133 of the unfinished novel “Petrolio” (“petroleum”). This is not an addition, more of a rever-beration of a noisy artist existence. In the game with light and shadow, Annelise Soglio, Francesco Pedone and Alessio Castellacci dance Pasolini, raise their fists and, as black silhouettes, become an anti-capitalist threat of force on the masonry. In an animated projection, they amplify into the mass of people. The grungy homosexual sings an old Italian pop song with his black penis hanging out of his trousers. The intellectual explains his social, political positions in text fragments. The creature in him that requires the natural life form, crawls on all fours and gorges himself with food – clearly an allusion to the film “The 120 days of Sodom”. Some scenes are drawn out and many remain vague, literally in the dark. That is how it should be, Pasolini remained a myth. BETTINA TROUWBORST, BALLETTANZ 02.09 THEY DANCE PASOLINI Pier Paolo Pasolini – an avowed catholic who polemicized against the sexual morals of the church. A communist who denounced growing left-wing fascism. Homosexual, consumer critic, media sceptic. Radical in his positions and in his art, with which he evoked scandals, repeatedly quoted in court. Only he could no longer be prosecuted for his planned novel “Petrolio”. Pasolini was murdered in 1975, the text remained a fragment. He called his text passages “Notes” instead of “Chapters”; he had compiled 133 of them. Now there is one more. The Düsseldorf artist pair Ludica – consisting of Morgan Nardi (choreographer) and Naoko Tanaka (media artist) – has created a “Note 134”. This sounds like a continuation of the story but is, in fact, a very respectful homage. It was not only the agitator but the poet Pasolini that interested Ludica. Yet the escapades dominated the reception of the poet and film director to such an extent that he is now barely recognisable in this gentle approach. The three dancers of this evening strike at the floor, scratch over the surface with their fingernails – Pasolini, the rebel, who wished to destroy and rip up every smooth superficiality? Later men and women crawl on all fours, have food thrown at them, which they devour like animals – perhaps a film reminiscence of “The 120 Days of Sodom”? And at some point, the three performers of the evening lean naked against a wall, posing as if for mythologically stylised nude photography. Pasolini, the lover of simple creatureliness? Nardi and Tanaka arrange vestiges of his life, his art, so highly aesthetic and, at the same time, calculated to be so imperfect, that the images could never be kitschy. Yet you remain unsettled, understanding at some point that these are only your own projections in which you believe to have discovered Pasolini. The Ludica formation is an expert in dreamlike ramifications. They thoroughly conceive each and every one of their images. So their pieces are never flat just illegible in parts – but somehow, after all, this suits the literary monstrosity that is “Petrolio". NICOLE STRECKER, KÖLNER STADTANZEIGER 28.03.08 http://cargocollective.com/morgan-nardi/A-One-M-org-an-Show http://cargocollective.com/morgan-nardi/following/morgan-nardi/A-One-M-org-an-Show Tue, 08 Nov 2011 13:13:35 +0000 www.morgan-nardi.com 2271779 <img src="http://payload.cargocollective.com/1/5/166635/2271779/HL_AOneMorganShow_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271779/HL_AOneMorganShow_o.jpg" align="left" /> Duration: ca. 70 Min. Choreography/Direction/Performance: Morgan Nardi Visual Art: Erich Pick (DE/TR)Dramaturgy: Oscar Genovese (IT) Vocal Coach: Christian Wolz (DE) Music/Light Design: Tobias Heide (DE) Stage: Manfred Nücken (DE) Organisation: Martin Brüggemann (DE) PR/Management: Mechtild Tellmann Co-Produced by: tanzhaus nrw, Düsseldorf – Germany Funded by: The Prime Minister of North Rhine-Westphalia, the Arts Foundation of North Rhine-Westphalia, the Cultural Office of the City of Düsseldorf Supported by: The Residencies of PACT Zollverein Essen and Schloss Bröllin e.V. Sponsored by: WISTRA GmbH Selmsdorf. Where does the truth end and the lie begin? Are white lies allowed in order to preserve your own truth? The new solo piece by Düsseldorf-based choreographer Morgan Nardi approaches this subject in a humorous way and combines artistic and political realities in the process. He takes up the tradition of the one-man show, presents his own biography, dances untrue stories, performs survival tricks, sings truths and plays with elements of comedy and media art. He weaves a web of lies and truth, thus questioning the self-presentation and authenticity required by both audience and the “art world” as a whole. In this multifaceted patchwork, he defends the right to lie and ironically shatters the moral obligation to tell the truth. With its inclined plane, the installation created by the artist Erich Pick forces the performer to constantly seek balance and not slip. Its geometric design also provides a perspective, which melds the perceptions of the actor and the audience. The piece was developed in collaboration with the dramaturg Oscar Genovese and the vocal artist Christian Wolz. <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_06_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_07_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_07_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_08_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271779/AOneMorganShow_08_o.jpg" align="left" /> A ONE M(ORG)AN SHOW from Morgan Nardi on Vimeo. PRESS ON THE INCLINED PLANE Morgan Nardi and his “A One M(org)an Show” at the Tanzhaus: all lies? It is indeed a one-man show, which the dancer and choreo-grapher Morgan Nardi presents at the Tanzhaus. He is the one who hands out tickets at the ticket counter, he is the one who tears off the stubs at the entrance to the small theater and he is the one who presents himself as a charming, if not entirely reliable, entertainer for seventy minutes. After all, Morgan's show is about truth and lies, false identity and real life. And Erich Pick has provided him with an impressive stage, an inclined plane all in white, on which the artist presents himself constantly tilted as a symbol for all that is off balance within life's balance. Pose with Trombone He wears a white suit and in a white suit, as Max Goldt knew so well, you move differently. It also has an air of the dubious, a white garment such as this. And the trombone, that Morgan is holding is probably more of an item of display, reminiscent of the noble poses assumed by VA Wölfl's company Neuer Tanz, for which the Italian native Nardi danced for many years. This biographical detail seems to be secure. But as the performer changes his story over and over throughout the evening, as the information pertai-ning to age and private life vary, the border between fact and fiction slowly begins to blur. With a good dose of self-irony, Nardi describes his artistic milestones, even distinguishing himself as a dubious singer to the lines of Grace Jones: "Your private life drama, baby, leave me out." The Secrets of Love But no private drama is offered here as Morgan evades this with elegant dance steps that provide a framework for his performance. With a wig he is the star and coquettishly answers unspoken questions. In the end, he paints his face gold and sings of the "Mysteries of Love" from David Lynch’s "Blue Velvet". This is Morgan in his most vulnerable role, removed from the popular entertainer, and the ambitious artist. There was plenty of applause for this stylish performance imbued with a subtle sense of humor. You still have a chance to see Morgan Nardi's "A one m(org)an show" on August 27th at 5:15 p.m. at the Tanzhaus as part of the International Dance Fair. THOMAS HAG; NRZ, JUNE 28, 2010 http://cargocollective.com/morgan-nardi/The-Corner http://cargocollective.com/morgan-nardi/following/morgan-nardi/The-Corner Tue, 08 Nov 2011 13:13:35 +0000 www.morgan-nardi.com 2271778 <img src="http://payload.cargocollective.com/1/5/166635/2271778/HL_TheCorner_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271778/HL_TheCorner_o.jpg" align="left" /> FESTIVAL TEMPS D'IMAGE 2009, TANZHAUS NRW – DÜSSELDORF INTERNATIONALT LEVENDE TEATER FESTIVAL 2009, ÅRHUS – DENMARK Duration: ca. 60 Min. Concept: Morgan Nardi, Naoko Tanaka, Sven Kuntu Performance/Choreography: Annika B. Lewis, Morgan Nardi, Naoko Tanaka Space Concept: Sven Kuntu Set Design/Video: Naoko Tanaka Composition: Sven Kuntu Musical Assistance: Siim Soop Light Design: Tobias Heide, Revo Koplus Organisation: Martin Brüggemann Management: Mechtild Tellmann Co-Produced by: tanzhaus nrw, Düsseldorf – Germany/Kanuti Gildi Saal, Tallinn – Estonia/Kulturhus Århus, Århus – Denmark/Centro Coreográfico de Montemor-o-Novo – Portugal Sponsored by: the Culture Bureau of Düsseldorf, the Art Foundation of North Rhine-Westphalia, the Prime Minister of North Rhine-Westphalia, Fonds Darstellende Künste e.V. and the Foundation Van Meeteren. THE STORY: An artist is standing in the corner. Is he the victim of social manipulation and faced with excessive expectations or did he manipulate himself into this situation? In any case, he knows that he must change in order to come out of the corner. Or he moves further into the corner in order to finally disappear at some point. In a creative link of medial and installation-art and performance, the classical theme “Standing in the corner” is intentionally reduced staged. THE CORNER plays with the expectations of the audience – it will be manipulated and faced with unfulfilled expectations. Inspired by the popular parlour game “Game of Life” a production arose that, with humour, imagination and a shot of social criticism, makes the view of the outsider a subject of discussion. “The Corner” is based on the results of the artistic encounter of Ludica. with the Estonian musician and performer Sven Kuntu that began during the international research project “COLINA – Collaboration in Arts” in 2005. After the unexpected death of Sven Kuntu Ludica. developed further the project in collaboration with the performer-artist Annika B. Lewis from Denmark as a tribute to Sven Kuntu. <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271778/TheCorner_06_o.jpg" align="left" /> PRESS “THE CORNER” We'd all like to be there, right in the center of it all. Because that's where it's all happening: people belting out songs, laughing, living it up. A guitar rings out. A man (he must be a star!) is speaking with an audience that reacts enthusiasti-cally to his every word. You feel as though you are breathing in stage air, steeped in sweat, booze and smoke, as though could see yourself bathing in the blue light of the concert hall among the unsettled masses, hear yourself screaming, the taste of beer on your tongue, adrenaline rushing, emo-tions swarming, overwhelmed in sound... Nothing is there. We're outside. Sitting quiet as church mice on our seats, an aseptic white space in front of us, adorned with no props. Only as a projection creaks a door open does the noise of a rock concert come through to us. You hear screaming, the music, and then the door slams shut. We don't belong there; we're just eavesdroppers at the door... outsiders. "The Corner", premiered at the tanzhaus nrw by the Düsseldorf-based group Ludica, is dedicated to the knock-abouts and on-lookers who are indispensable to a society. The outsider: in reality he is usually just invisible. Theory romaniticizes him to be among society's true rebels. Ludica's installation performance does not fall back on this cliché. Outsider: here the term applies to the lotto winner who is cast from the life he once knew, just as it applies to the mass murder with a ski mask over his head or the smoker who follows the “smoking area” sign until it disappears into the unattainable. This is the stuff of Ludcia's softly satirical scenes that reflect discrimination's dangerous potential with a great deal of humor and, in doing so, initially make an allusion to the good-tempered audience before stating so outright. Bystanding for the visitors: performers in black combat gear direct the audience with doorman "charm" onto the stage area. They have to bend down and look into a small peephole. And their they see: themselves. The backside of a person crouching to see through a peephole. The 2001 body founded by choreographer Morgan Nardi and video artist Naoko Tanaka has predominantly represented an enigmatic type of poetry that often makes one feel shut out. In 2007 they met with the now deceased composer Sven Kuntu with whom they developed the concept for "The Corner": an audience interaction gone demonstrative excursion. This paradox actually works. The artists cleverly use humor to skirt the thin line between aggressive repulsion and attraction. At the end, a neon sign informs the patiently waiting audience that the performance has been over for a minute, a nonchalant scram. NICOLE STRECKER; BALLETTANZ, JUNE 2009 SANDS IN THE EYES OF THE BEHOLDER Look, body, space: the Temps d’Images. Festival at the Tanz-haus NRW focussed on visual culture’s blind spots … Once again, the music in the Festival’s first premiere – “The Corner” by Düsseldorf-based artist collective, Ludica – emanates from next door, as if life were elsewhere. Repea-tedly, the door in the wall opens a crack, allowing a beam of light to appear; brashly-cheerful music and a psyched-up Italian voice are heard, applause. However, the door is merely a projection against the grey stage wall. All actions involving the three performers on the stage and the audience end in nothing. Questionnaires are handed out, completed – but not collected. A voice says “What do you feel” a hundred times, but it is not a question. Adjectives such as “happy” and “sweet” plop onto the back wall in old-fashioned, bright advertising lettering. The performers, dressed in black, act busy; nothing happens. An official-looking digital display slowly counts and makes a “ping” noise. The dullness, the emptiness that veils the looseness feels like a kind of blindness. Wanting to go elsewhere but being unable to do so – this is what makes this stage performance tangible in an unsettling way. As a criticism of the stage and visual entertainment medium itself, “The Corner” is systematically unoriginal. … MELANY SUCHY; SZ FEUILLETON, JANUARY 30, 2009 http://cargocollective.com/morgan-nardi/D-E-S-Dubito-Ergo-Sum http://cargocollective.com/morgan-nardi/following/morgan-nardi/D-E-S-Dubito-Ergo-Sum Tue, 08 Nov 2011 13:13:34 +0000 www.morgan-nardi.com 2271780 <img src="http://payload.cargocollective.com/1/5/166635/2271780/HL_DES_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271780/HL_DES_o.jpg" align="left" /> Duration: 75 Min. Choreography, Direction, Performance: Morgan Nardi (IT) Performance: Kepha Odhiambo Oiro (KE) Direction, Dramaturgy, Video: Alessandro De Vita (IT) Visual Art: Hinrich Gross (DE) Music: Neil Leonard (USA), Alessandro De Vita (IT) Sounddesign: Idrioema (PT) Lighting: Philipp Zander (DE) Management, PR: Alexandra Schmidt (DE) Organisation: Martin Brüggemann (DE) Co-produced by: tanzhaus nrw, Düsseldorf and Dance Forum Nairobi, Kenia Funded by: Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NRW; Kunststiftung NRW; Kulturamt der Landeshauptstadt Düsseldorf and NRW Kultursekretariat Wuppertal. Supported by: the Residencies of PACT Zollverein Essen and Körper - International Dance Contemporary Art Center – Naples and by the DE.MO./MOVIN’UP Project. I want to leave you with a question. What was first: the choreographer or the movement? „Look. Open your eyes and the cage in your breast. I have nothing true to say but I'II try to forget. I'II be forgetting for so long until 1 have no memory at all. We'll see ourselves like sounds of light, we’ll hang up to the wall this flesh and it get daylight. Call out the Sound of this silence that is holy and kills all certainty. lt will reach the end of your mouth, very very slowly. Nothing was as before since then. His voice, his voices, the evenings, just infinitesimal parts and smooth splittings. Jerks and processions, clown's confessions and relaxing massacres. Tell me farewell, tell me about hell. About you and me no more. Many pieces. So many pieces. Then again no more." D.E.S. – Dubito Ergo Sum Referring to the famous thesis of Descartes “Dubito ergo sum – I doubt therefore I am” the choreographer Morgan Nardi starts an artistic research on the principle of doubt being the base of creativity. The initial point of the show, which he developed in collaboration with the Kenyan dancer Kefa Odhiambo Oiro, is the loss of certainty. He pursues his artistic research on philosophical issues, which in 2010 he began with his solo performance “a one m(org)an show” about the concept of authenticity and fake. In “D.E.S. – Dubito Ergo Sum“ he constantly alternates the narrative levels and stages a game about uncertainty and irritation. In English-speaking lectures he negotiates topics like self-reflection as an artist or the understanding of one’s role as a performer or choreographer. Is there a clear borderline between faith and knowledge? Changing between the language ductus of medieval exercises and pseudo scientific lectures, Morgan Nardi stages scenes that seemingly dissolve the transitions of light and dark, shadow and projections, solo and duo. <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_06_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271780/DES_07_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271780/DES_07_o.jpg" align="left" /> http://cargocollective.com/morgan-nardi/1-One-Comma http://cargocollective.com/morgan-nardi/following/morgan-nardi/1-One-Comma Tue, 08 Nov 2011 13:10:12 +0000 www.morgan-nardi.com 2271756 <img src="http://payload.cargocollective.com/1/5/166635/2271756/HL_EinsKomma_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271756/HL_EinsKomma_o.jpg" align="left" /> Duration: ca. 60 Min. Choreography: Morgan Nardi Dance: Hironori Sugata Visual Art: Naoko Tanaka Sound: Andrei Loginov Lighting: Christoph Burger Co-Produced by: FFT Juta, Düsseldorf Promoted by: Office for Culture of the state capital Düsseldorf, the Kunststiftung NRW and the Prime Minister of Nordrhein-Westfalen. Selected for "Tanzstrasse 2004 – Contemporary Dance in North Rhine-Westphalia" “Each human being acts according to his own characteristic principles. Two identical humans do not exist. It concerns, briefly, the problem of identity. What is identity?Identity is the individual structure of thinking, which has developed from the accumulated value of experience. More simply expressed: the soul, the heart of a human. Each human being has his own, two of the same don't exist. But humans hardly understand their own psycological structure. That is true for me and equally true for you.” (HARUKI MURAKAMI) <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_05_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_06_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_06_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_07_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271756/EinsKomma_07_o.jpg" align="left" /> Press A brilliant piece about identity, existence and appearance – a quiet fantasy about the coexistence of real and imagined worlds in one human being. The senses become public. However, something somewhere changes, revealing a restless internal world. Very clearly structured and told, nevertheless more poetry than prose. “1,” opens up an individual way into the piece for everyone. Philosophical questions as sensual mysteries. GESA PÖHLERT Who follows whom? Does the image follow the dancer or is it the reverse? Reality and images step into a calculated and fascinating interrelation. KLAUS-M. SCHMIDT Artists and works of art are developed and also destroyed again. At the end the shadow of the choreographer also appears. The dance of the human with the medium lasted a good hour, and each minute was full of excitement. PEN http://cargocollective.com/morgan-nardi/Das-Orchideenzimmer http://cargocollective.com/morgan-nardi/following/morgan-nardi/Das-Orchideenzimmer Tue, 08 Nov 2011 13:09:35 +0000 www.morgan-nardi.com 2271752 <img src="http://payload.cargocollective.com/1/5/166635/2271752/HL_Orchideenzimmer_800.jpg" border="0" width="800" height="62" width_o="800" height_o="62" src_o="http://payload.cargocollective.com/1/5/166635/2271752/HL_Orchideenzimmer_o.jpg" align="left" /> Duration: ca. 55 Min. Choreography/Dance: Morgan Nardi, Laura Delfino Visual Art: Naoko Tanaka Lighting: Christoph Burger Sponsored by: the Culture Bureau of Düsseldorf In Collaboration with: Salon des Arts and tanzhaus NRW, Düsseldorf Following the traditional Chinese idea of the virtue-strengthening effect of an orchid's scent, an artificial world develops, which awakens and transports the senses into a hallucinated condition. The usual distance between stage and spectator is dissolved, and the dance installation forms a new area, which continually changes between the almost intimate atmosphere of a closed room and the designed art area. <img src="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_01_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_02_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_02_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_03_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_04_800.jpg" border="0" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/5/166635/2271752/DasOrchideenzimmer_04_o.jpg" align="left" /> PRESS "Come in quickly, I am afraid of my own luck" – a poetic invitation. He who follows it into Morgan Nardi’s “Orchideenzimmer” lands in the quiet of an adagio by Mozart. In between dancers with rabbit heads, whose virtual cartoon-likenesses dance on the walls. It takes just minutes for all perception to float, intoxicated. As if the music, images, sounds were directly in the viewer’s body. GESA PÖHLERT