{"id":934,"date":"2019-01-10T00:23:19","date_gmt":"2019-01-10T00:23:19","guid":{"rendered":"http:\/\/loie.com.ar\/?p=934"},"modified":"2019-01-10T00:39:43","modified_gmt":"2019-01-10T00:39:43","slug":"falsa-danza-fake-dance","status":"publish","type":"post","link":"https:\/\/loie.com.ar\/en\/loie-00\/experiencia-curatorial\/falsa-danza-fake-dance\/","title":{"rendered":"Fake Dance\/ Falsa Danza"},"content":{"rendered":"

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Based on the work of the academic research “On What is True, What is False and Fictitious in the encounter Between Storytelling, Dance, And the Moving Image”, Falsa Danza <\/em>(Fake Dance<\/em>) intends the problematization of the place of artifice and the apocryphal in dance, on different media and devices. This project was developed as a section of the XVI International Festival VideoDanzaBA<\/em>, in Buenos Aires, August, 2017. The research has been triggered by news published in the media referring to the appearance on Youtube.com in 2009, of a set of films featuring the legendary Ballets Russes, and the consequential effects produced in the international dance community (eventually, it was revealed that the alleged films of Afternoon of a Faun<\/em> and other emblematic works by the Ballets Russes were actually made of original photographs by the mythic photographer Adolf Meyer).<\/p>\n

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Dance as a performance art is supposed to be unable to trick, since the physicality of the body includes a being in a specific time and space. This radical anchor of fixation in a continuous present and a concrete space, takes dance away from the possibilities of replacement, the substitution of one thing for another, as operations that enable plagiarism, mirage, or trap.\u00a0<\/em>However, the idea that “the body can’t lie” calls into questioning today more than at any other time due to, above all, the multiplication of ways to show a body generated by digital technology.\u00a0<\/em><\/p>\n

In this context, the dance, as an art of our time, is able to invite the viewer to play with the ambiguities, false images, and ultimately, to be fooled.<\/em><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Susana Temperley \u2013 Curator<\/p>\n

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Falsa Danza<\/em> articulates the following areas: screenings of screendance, scenic dance work (Condici\u00f3n<\/em> Fractal<\/em>), photographs of national and international artists, round table and critical writing. Curatorial team: Susana Temperley, Silvina Szperling, Valeria Martinez and advisory from Federico Baeza. Review writing from students of the Arts Criticism Degree of Universidad Nacional de las Artes (Buenos Aires): Melisa Alzugaray, Natacha Mu\u00f1iz y Andr\u00e9s Hare.<\/p>\n

The texts that we share (available in spanish) in this section offers a (possible) Fake Dance<\/em> cartography built on varied points of view which invite, we hope, to reflect on the condition of the dance, the implications of its relationship with technology and the place that the viewer occupies, also, as a composer and, in this case, as a reader too.<\/p>\n

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