As the first exhibition of the second season, Il Colorificio presents “SPACEWALK”, Michele Rizzo’s first solo show in Italy. The exhibition is the first plastic and installative output of a choreographic and performative research which Rizzo has developed over the years in festivals and theatres. At the core of these pieces lays the construction of an individual sphere within the social space of the club, a place where the self and the reciprocity coexist between the sweat and the fluids of a nightclub. In 2017, with the performance SPACEWALK presented at Brakke Grond Theatre in Amsterdam, Rizzo goes far from the body’s sphere to disclose the realm of the object. The performers, with slow and rhythmic movements, move throughout a scenography composed by geometrical forms, as if there were no subjective individualities, but only blurred materialities.
At Il Colorificio SPACEWALK takes form of an installation. Two videos, a bird’s eye view over infinite virtual architectures and a flowing watercourse that enters into a bag, through a tube, and then begin a new lap, welcome the visitor. At the bottom of the room a maquette driven by a motor slowly sways, displaying the shapes of the first video – the same geometric solids that set the space in the SPACEWALK performance. The shimmering lighting forces the spectator to set up each subsequent gaze in a different way: the space is shaped and reformulated through the movement that forces the platform to undergo an uninterrupted dynamism. The clean and ordered structures, white and precise, are disturbed by a flow of water that runs diagonally, collects in a bag and returns to flow from the same point.
At a first glance, the platform might seem like an architectural model, but it is an invite to “make oneself small”, and to rethink a way of observing. This process shows how the sight frees itself from the eye (and therefore of the body); and the body has nimbly freed itself from the world (and therefore from reality).
At the same time, a question would be necessary: is there consciousness in a space without any human actors? Perhaps consciousness enters and penetrates matter, flooding it – after the anthropocene, after a delegation of consciousness from the human to the other – and remains as a trace.
Perhaps we finally recognize that there is a gap between representation and perception, that the latter does not necessarily require the former and that the distinction between subject and object holds as long as we maintain our representative capacity.
However, if traces of consciousness are present in a non-human world and if the perception is independent of necessary recordings, then there are neither objects nor subjects and the (post)human point of view is mobile: driven to fly endlessly on expanses of perfect geometries.