Under de sí is a great boxing ring: visitors can decide from which angle they will enter this labyrinth made of different situations representing a network of bodies, substances, merchandise and materials, which cannot be told one from the other; a universe that is familiar and strange at the same time, tragic, funny and fictitious. A single-gesture dance: a GIF, a symphony of minimal actions, a photography where the present is seen like a museum, a photograph of ''the future'' as a museum, a training camp, a place for meditation...
Under de sí reflects upon the link between physical exercise and fiction, between action and image. It explores the relationship between human bodies and merchandise, and above all, the blurred limits between these objects, materiality and the ''human'' element. It looks into the construction of our own image as a theatrical act. In a flat space, with no center, numerous performers will repeat different behaviors at the same time, as rituals of daily life taken to an extreme of deformity: they will seek to resist, adapt and overadapt to an unstable system.
How much reality can fiction stand? This question was the starting point for Diego Bianchi and Luis Garay to create Under de sí, a work that escapes all artistic labels and challenges the limits of performance, sculpture, theater and happening. The mise-en-scene naturalizes all measures: Disaster reaches such prominence that it becomes the only possible Truth.
Dirección: Diego Bianchi y Luis Garay
Producción: Belén Charpentier
Iluminación Eduardo Maggiolo
Diseño sonoro: Ismael Pinkler
Asistencia de montaje: Federico Cantini
Estilismo: Flavia Romera, Jackie Ludueña, Diego Bianchi y Luis Garay
Colaboración conceptual y diseño de imagen: Vanina Scolavino
Performers: Lucía Deca, Herman Langlouis, Giuliana Kiersz, Lulú Alvarado, Silvina Prosianiuk, Luz Peuscovich, Leandro Martínez, Lucas Lagomarsino, Federico Miyashiki, Mirta Citin, Olivier Ubertalli, Camilo Polotto, Lulú Scalise, Jackie Ludueña Koslovitch, Rocío Rôo, Leticia Lamela, Matías Maroevic, Ignacio Fanti, Matías Madala, Nicolás Mac Mahon, Nicolás Salvatierra, Lisandro Illa, Jennifer Wagner, Pilar Villasegura, Luciana Marinissen, Leandro Olmos, Emma Serna, Alejo Olaizola, Roxana Nakama, Mariana Hanashiro, Débora Nishimoto, Jair Jesús Toledo, Daniela Camezzana, Daniel Zelkowicz, María Baumbler, María Soledad Belén, María José Schroeder, Victoria Bonnano, Alejandro Santucci, Juan Felipe Hernandorena, María Aguirregomezcorta, Juan Ignacio González, Nicolás Roses Ponce, Daniel Bazet, Triana Leborans, Sabrina Cassini, Agustina Leal, Violeta Mansilla, Natacha Voliakovsky, Gianluca Zonzini, Julián Dubié, Alberto Antonio Romero, Andrés Alvez, Franco Bertolucci, Santiago Cervio, Gonzalo Daquino, Mariano Clemente, Flor Sánchez Elia, Rocío Mercado.
Date: May 6 and 7
Time: 8:30 and 9 pm
Venue: Centro de Arte Experimental UNSAM
Co-production BP.15, TACEC Centro de Experimentación del Teatro Argentino de La Plata, Malta Festival Poznan (Poland) and 2015 Wienner Festwochen (Austria)
Diego Bianchi 1969, Buenos Aires, Argentina.
He lives and works in Buenos Aires, Argentina.
Multidisciplinary artist, he does installations, sculptural objects, and performances. His work deals with the problems related to the impact of consumerism in the capitalist society; and his exploration on the body. The viewer faces extreme situations that involves repulsion, questioning, and meditation on his place in the world. Between 2003 and 2005, he participated of the Program for Visual Artists of the Centro Cultural Rector Ricardo Rojas - UBA, Kuitca Fellowship. During 2006 he studied at Skowhegan School of Painting and Sculpture(Maine, United States).He has been the recipient of important distinctions, including the Braque Award (Tres de Febrero National University, Buenos Aires, Argentina, 2012) and Petrobras Award (ArteBA in Visual Arts, Buenos Aires, Argentina, 2007). Since 2009 he teaches at the annual seminar Anti-proyecto (Anti-project) program of artists of Torcuato Di Tella University. Lately his research on the performance has gained significance in his own work, his most recent pieces include: Time Wasting Time (Pérez Art Museum Miami, Miami, United States, 2015); On On On Indetermination (ABC Art Berlin Contemporary, Berlin, Germany, 2014); Estado de spam (Alberto Sendrós Gallery, Buenos Aires, Argentina, 2013); Into the Wild Meaning (Visual Arts Center, University of Texas, Austin, United States, 2012), and Ensayo de situación (Torcuato Di Tella University, Buenos Aires, Argentina, 2011) in collaboration with Karina Peisajovich. Chief among his solo exhibitions are Feel Free Feel Fear, at Slow Burn - an Index of Possibilities (Spoorzone-Tilburg, Tilburg, Netherlands, 2013); Reglas y condiciones (Mite gallery, Buenos Aires, Argentina, 2012); La isla de los links (Luis Adelantado Gallery, Mexico City, Mexico, 2012); Ejercicios espirituales (Centro Cultural Recoleta, Buenos Aires, Argentina, 2010); Monumento para un sótano (Fondo Nacional de las Artes, Buenos Aires, Argentina, 2009) in collaboration with Luciana Lamothe, Jane Brodie, Guido Yannito, Gastón Pérsico, Hernán Paganini and Karina Peisajovich; La música que viene (Contemporary Art Museum of Rosario, Santa Fe, Argentina, 2008); La escultura del presente (Centro Uno de Arte Contemporáneo, Río Negro, Argentina, 2007); Imperialismo minimalismo (Alberto Sendrós Gallery, Buenos Aires, Argentina, 2006); Escuelita Thomas Hirschhorn (Belleza y Felicidad Gallery, Buenos Aires, Argentina, 2005) in collaboration with Leopoldo Estol; Daños (Belleza y Felicidad Gallery, Buenos Aires, Argentina, 2014), and Embale (Boquitas Pintadas Art Space, Buenos Aires, Argentina, 2003). He developed spatial projects for contemporary art fairs, such as: Suspensión de la incredulidad (Barro Arte Contemporáneo Gallery, ARCO Contemporary Art Fair, Madrid, Spain, 2014) and Economic Choreography (U-Turn Project Rooms, arteBA, Buenos Aires, Argentina, 2012). He participated in the following art biennials: Market or Die (Istanbul Biennial, Istanbul, Turkey, 2013); The Ultimate Realities (Lyon Biennial, Lyon, France, 2011), and La crisis es estética (Bienal de La Habana, Havana, Cuba, 2009). Chief among his most recent collective exhibitions are Últimas tendencias II (Museum of Modern Arts of Buenos Aires, Buenos Aires, Argentina, 2012); Rastros de aserrín (Centro Cultural Parque España, Santa Fe, Argentina, 2011); Beuys y más allá. El enseñar como arte (Centro Cultural Recoleta, Buenos Aires, Argentina, 2010); Nueva escultura (Miau Miau Gallery, Buenos Aires, Argentina, 2010); Ouro sentimental (Contemporary Art Museum of Niterói, Rio de Janeiro, Brazil, 2007); Civilización y barbarie (Contemporary Art Museum of Rosario, Santa Fe, Argentina, 2005; Contemporary Art Museum, Santiago de Chile, Chile, 2004; Panama Canal Museum, Panama, 2004; Museo Jacobo Borges, Caracas, Venezuela, 2004), and Harrods (Estudio Abierto Retiro, Buenos Aires, Argentina, 2003).
Luis Garay 1981, Bogotá, Colombia.
He lives and works in Buenos Aires, Argentina.
Self-taught artist whose work alternates between formal proposals of the use of the body, and the experimentation with disciplines ranging from dance to performance and actions in order to produce a reinvention of language through the body. From 1997 until 1999 he studied dance at the Fundación Ballet de Priscilla Welton (Bogota, Colombia). Between 1999 and 2003 he moved to Buenos Aires and continued his studies at the Teatro General San Martín (Buenos Aires, Argentina). Upon finishing his studies, he went to CND, Opéra National du Rhin (Mulhouse, France). In 2010, he directed the Dance Company of the Universidad Nacional del Litoral (Santa Fe, Argentina). In 2012 he was invited by the Kunsten Festival des Arts to participate of its project Working Visits (Brussels, Belgium), in addition he directed the artists' residence Proyecto LOTE1 (São Paulo, Brazil) and the project Outras Danças de Funarte (Porto Alegre, Brazil). Chief among his most recent performative projects include Fisicología (Parque de la Memoria, Buenos Aires, Argentina, 2014); Ciencia y fricción (SESC Belenzinho, São Paulo, Brazil, 2014); Actividad mental (heLA, co-produced by the Buenos Aires International Festival, Argentina, 2011); Ouroboro (Centro Cultural de la Cooperación, Buenos Aires, Argentina, 2011); The Divine Comedy (Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2010), and Maneries (Internationale Musikfesttage Martinu, Basel, Switzerland, 2009). He has recently presented some of his works in Belgium, France, Japan, Brazil, United States, Germany, Chile, and Portugal.
Diego Bianchi and Luis Garay have jointly created Under de si (Centro de Experimentación y Creación del Teatro Argentino, Buenos Aires, Argentina, 2013).