project ww

project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww
project ww

 

Only in the final lap this Project took its shape of a communal performance, a sort of improvised choreography led by simple rules for the manipulation of different sized white paper squares, that should be displayed from the windows of the residents apartments, who would volunteer to take part on the action.
Fundamentally, it consisted in a research about change of perception. By that it includes experiments concerning creative process and a constant questioning about the role of visual communication, which ended by affirming its potential to unleash us from the restrained daily life codified language.
Using the white squares as a unit and testing its application via collages, it was possible to play with distorted perspectives, unusual points of view and combinations regarding multiple references.
The final model crowned this venture in a three-dimensional composition of humble optical games given by cuts, placement and inclinations. The Marzahner Promenade was delimited by a patchwork of sidewalk tiles, which offers a sense of different levels and heights, despite its flatness. Various areas in the district are represented - not following the same scale - through photos (deformed from the start by the very nature of photography) over surfaces and shapes. Some seem about to collapse, not being supported by a conventional structure. A 8” screen continuously displays a video from a dance intervention in the neighbourhood, conceived with Ela Spalding, following a previous study of the body as communication inter medium - this time manipulating/being manipulated by the white squares. Those are some of the elements that stated the attempt to create a piece in which the meaning is out of question, but still one can recognize processes that go on, despite the range of our consciousness.

CREATIVE PROCESS/VISUAL COMMUNICATION
To define how these squares surfaces would be displayed, the creative process started by generally researching as much as possible. Along with readings and experiments, an attempt to connect with the object – in this case the district of Marzahn – in a relatively free way, letting references pop up and considering every thought as valuable.
Once some theoretical and logistical bases were settled, the final decisions of how to combine the elements in question came fluently using free association as a technique.
Through this process, multiple stories and connections can be made; and communication walks through other paths beyond daily relation between social and linguistic codes and its ordinary visual associations. This construction allows complex relations between elements apparently disconnected. Presenting to colleagues some of the visual proposals run for the facades, everyone brought either a new reference or a fresh review of something once already considered. Although WW has its foundations in details, in a larger scale it should be possible to find a net between the interferences and the buildings along Marzahn. The perception of collectivism is an important aspect of the project. For some of the examples, Russian ballet, choreographies and bird swarms were taken as references. Beyond the sense of embodiment, moment and movement loose themselves in their meaning, as in the Latin etymology of both words: Momentum. Other parallels run in infinite back and forth questioning. Order and Disorder, Private and Public, Open and Close… And the squares are the element of transition, the magic gate for fresh questioning.
Assuming that the work of a Visual Communicator consists in express her/his ideas, denounces, dreams, proposals, critics… using images as a tool, there couldn’t be a better platform for that than a public space in a big city, where the hierarchical relationship between creator and audience - established in museums, galleries or stages - is reduced; and the work piece is a living organism, corresponding to its viewers and surroundings. The message is not a precise authoritarian linear imposition, but a web of actions and reactions from a complex structure, that after a certain point, we could say, it’s self-organizatory. There is no single speech or truth, but a tuned coexistence of individual perceptions corresponding in an honest way to the place and time in which it is in.
Quoting the film director Pier Paolo Pasolini, “there is a whole complex world of significant images - formed as much of gestures and of all sorts of signs coming from the environment, as of memories or of dreams”. Social changes are necessary but their imposition has proven not to be the right path. With that in mind, the development of a media which will work with one of our most unleashed sources of comprehension – images – confirms the worth of this practice.
 
DANCE INTERVENTION/FINAL MODEL
Arriving to a final proposal, questions about the practical implementation of such intervention needed to be answered. In terms of durability, should it stick with the use of paper and count on a fast decomposition or should a change of material, for something more resistant, be taken under consideration? Would the community approve this practice or would it be considered a disturbance? In terms of budget, should money, to begin with, be used for such matter? In the homestretch it became clear that this project didn’t aim to be fulfilled, at least not over formal bases, hiring technicians to install plates on people‘s windows. If executed, it should be a common movement launched by the residents, or less utopist, coordinated as a simple game, a flexible choreography.
By filming a dance intervention with the white squares in Marzahn, developed with artist Ela Spalding as part of this research as well as of an on-going project of dance|improvisation|adapted stages in urban platform and the performer as communication inter medium; the Project WW morphed into a communal performance. With this solution, its execution could achieve its gold: to generate with simples rules images created by the local community, who would offer an unpredictable participation and still allow the compositions to function as a whole, providing ways of communication in different levels. A small initial engagement from some residents would be enough to display this concept, and if it gets to grow, it could bring out more sophisticated arrangements. The physical model, which represents this project, follows the looseness in which it was conceived and inherently is expected to be appreciated. Simple optical games, imperfections and defects, distorted perspectives, different scales, reassembling of structures; those are some elements of a 3D collage, which aims to blur understanding and leave room for apperception.