***<\/p>\n
With no predetermined path through the gallery, the general proposal to the visitor was to move among a diversity of volumes, textures and luminosities. This multisensory route presented no physical discomfort but could produce a certain unease in the visitor\u2019s state of mind, since the panels and artefacts displayed in the large space of Fundaci\u00f3n Cazadores described, argued and disquieted, hovering between remembrance and denunciation.<\/p>\n
In a remote, dark corner there is an open cardboard box from which beams of light and sounds emerge, enigmatic at first. You have to move closer and look carefully.<\/p>\n
Inside the box we find a screen on which a succession of memories of the Austro-Hungarian choreographer Hilde Holger is projected. The filmed moments move between three cities: Vienna, Bombay and London. Different qualities of image, colouring and performing bodies depict artistic and pedagogical scenes in the life of this figure of modern dance and show the places that were her home and where she managed, not without great difficulty, to build a legacy.<\/p>\n At times the narrative, sustained by black-and-white archive footage, sends us back to 1920s Vienna and gives us glimpses of Holger\u2019s Mechanical Ballet<\/em>, a dance from 1926 that echoes an earlier version from the Bauhaus (1923) as well as Fernand L\u00e9ger\u2019s film Ballet M\u00e9canique <\/em>(1924). We also see the sketch of the original costume and mask designed by Arthur Berger for Holgerand, finally, rummaging in her archive, Holger\u2019s daughter pulls a box from which emerges the original mask, that auratic object.<\/p>\n At times the image documents, at times it dances, at times\u2026 it fails: visible and audible interference appears on the surface of the screen, in the form of dissolving pixels and fragmented sounds. Assorted noises interrupt the flow of perception. We might ask ourselves whether this is a superimposition of technological errors as a trace upon history, or a blocking of materiality as a metaphor for a history built on discontinuities. Might we?<\/p>\n Let us pause to look a little longer inside this cardboard box and, in particular, explore the event it invites us to. The story of the dancer-teacher unfolds before our eyes, inviting us down into the basements in which she taught. We immerse ourselves in them, we dance in her classes (even those organised in the underground Vienna of 1938), we discover treasures in her travelling trunks and we experience, with a heavy heart, the feeling of uprootedness as we listen to first-person accounts; yet, in those hidden rooms, we also free ourselves through movement that flows beyond any preestablished rule.<\/p>\n Yes, all of this happens while we contemplate the inside of that box, but always only at moments, because every so often something interrupts this immersion, so rich in affect, and expels us back to the surface of the screen. A counter force places us before the technological failure, harshly reminding us that we do not inhabit those basements of creation, that they are only vestiges of a past time.<\/p>\n On the surface of things, the passage of time takes on a spatial form, and we can picture it as layered with strata and sediments. And if the very movement of an emotion can be sketched on the surface, if affective impression is able to show itself in residual traces and textures, then Hilde\u2019s projected memories manage to organise themselves as weave, as patina and even as stain.<\/p>\n And so, in a back-and-forth that alternates rhythms and interruptions, whoever stops to observe 1905-2001 Vienna \u2013 Bombay \u2013 London<\/em> in that far corner of the gallery receives not one but two stories: the story of the life, art and struggle of the great Hilde Holger, and that of electronic mediaart and its capacity to preserve memory. And all of this takes place in the ambivalence of a device that is at times a basement, at times a screen and at times only a cardboard box, placed somewhat awkwardly in the darkness of a space.<\/p>\n *Text inspired by Superfici. A proposito di estetica, materialit\u00e0 e media<\/em> (2016), by Giuliana Bruno (Johan&Levi Eds.)<\/p>\n <\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" On Claudia Kappenberg\u2019s \u201c1905-2001 Vienna \u2013 Bombay \u2013 London\u201d (Fundaci\u00f3n …<\/p>\n","protected":false},"author":2,"featured_media":11207,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"class_list":["post-11173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","ediciones-loie-19","autores-susana-temperley"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t![\"\"](\"https:\/\/loie.com.ar\/wp-content\/uploads\/2026\/10\/sequence08v3glitch-still029copy.jpg\")
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