Dance, memory and music: a short film by Manon de Boer

Living in Brussels, and thinking about going over to café Walvis or café Modèle, for an afternoon coffee or tea, one of these days? And you love contemporary dance? Do make a stop at Jan Mot first. The Brussels gallery is showing a new video by Dutch artist Manon de Boer. For Dissonant Manon de Boer has filmed Rosas-dancer Cynthia Loemij while she performs a 10 minute response to Eugène Ysaÿe‘s 3 Sonatas for violin solo. First Loemij is listening to a fragment of Ysaÿe’s music. Then she starts dancing, without music: she is moving to the music in her head. Then, all of a sudden, there’s a black out. Later on another one follows. How come, you wonder. It turns out that De Boer has used rolls of film of 3 minutes each, which means that she has to replace the film during Loemij’s performance. While she does so, De Boer wants yoú to see the image of a dancing Loemij on the screen, using your mind, just as Loemij has to dance to music she is hearing in her mind. (Dissonant, at Jan Mot (Dansaertstraat 190, 1000 Brussels), through April 10. Thursday, Friday and Saturday, 2-6.30 PM)

Advertisements

2 Responses to “Dance, memory and music: a short film by Manon de Boer”

  1. nlthomas Says:

    I know this is an old post, but I just saw Dissonant at South London Gallery yesterday and thought you might have something to say about it!

    The show at South London was called Framed in an Open Window, which perhaps made me pay more attention to certain details than I normally would. For example, did you notice that Loemij pauses at a couple of points as if to listen to the music in her head or a comment from outside the frame – and that when she repeats the choreography, the pauses are repeated in the exact same sequence of movements? And that the camera knows exactly when she will arabesque, and tracks her perfectly? I assumed from the beginning that Loemij was improvising, but in fact the film is merely staged to make it appear so, leaving enough clues for you to be able to figure it out if you look closely – a trick repeated in other works in the exhibition, like Two Times and Presto, Perfect Sound. For me it raised some interesting questions about the the role of the performative in producing appearance, but maybe I was reading too much into it!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: