Av. Don Pedro de Mendoza 1929 - CABA
Magy Ganiko inspires himself in the blue world of the French painter, Yves Klein to choreograph ZonaZero. Klein is strongly related to Japanese culture: Judo expert, he visited Hiroshima and discovered how the atomic bomb flash had printed objects and human bodies on walls, stairs, and the pavement. As a consequence of this trip, the artist creates an anthropometry entitled Hiroshima.
Ginko, whose father was a hibakusha (Japanese word for the surviving victims of nuclear radiation), defines his own work as “turmoil” rather than as a formal staged piece or performance. To cause turmoil, to sink, to go adrift, to go down, to be in a state of uncertainty in the middle of a storm: as a ship that is uncontrolled at the mercy of storms. The limit of turmoil is where everything that is superficial disappears, where the essential becomes a life-and-death haiku. Devastation as “point zero” to arise as a phoenix from the ashes of horror.
In his search to achieve the immaterialization of art, Klein finds that the exchange of gold for an immaterial sensitivity area was the most realistic form of art, and also of the art of tomorrow. For Ganiko, ZonaZero is an area of alchemical transparency where the body exchanges darkness for light through dance.