From my preliminary research on gesture and body movement, I noticed that a few artists have a kind of dance background – while it seems somehow logic or obvious that dance and choreographic are linked together – choreographic as the intent to structure movement in space and time. I came across an artist article by Gretchen Schiller, who explored interactive artworks from the kinesphere to the kinesfield – a terminology going back to Rudolf Von Laban (1879 – 1958) graphic artist, dancer and choreographer who introduced the notion of kinesphere in 1926 :
“The kinesphere is the sphere around the body whose periphery can be reached by easily extended limbs without stepping away from the place which is the point of support when standing on one foot, which we shall call the “stance.” – Rudolf Von Laban
I can relate this to the first exercise in this part ‘reaching the limits of the body’
Gretchen Schiller is extending this into the kinesfield* where participants’ bodies move with moving objects together and creating a dynamic transactional relationship – the question of the individual’s dynamic shaping bodily movement and it’s expression in space versus a dynamic impact of space – some of her works are Shifting Ground (1999), Raumspielpuzzle (2003) and trajets (2000).
The question is all about interactivity and what it means. Schiller is referring to Stephen Wilson who stated that interactive means ‘that the user, audience has the ability to act influence the flow of events to modify the form’.
This reminds me of ‘relational aesthetics’ of Nicolas Bourriaud, performance as social interaction in space and time. The point is how relevant is this to my work? As I am on my own, alone, just me in a limited space and time. How can I embrace this? I can just do what my body can do within the limited around me, limitations that possibly could inform my movement. I like the idea of responsiveness where people are moving and responding to that – making the space ‘active and reactive’ with a sound feedback as in Schiller’s Raumspielpuzzle. She is referring to von Laban through ‘creating a scripting game that would generate choreographic possibilities’. There is certainly a sense of rhythm, energy and a temporal and spatial phenomenology experience, Schiller is saying about her works as ‘physiological playgrounds to investigate theoretical and physical notions of the kinesthetically aware body and it’s dynamic interaction’
She concludes that ‘bodily awareness and kinesthesia are not fixed they are dynamically cultivated’. I am intrigued by that but how to transform this into painting? Painting is certainly a temporal and spatial activity and an action with and onto material. At this moment it adds another dimension and complexity. I have to see – and start doing things, painting. Her work trajets evokes some ideas with how to see painting on transparent paper suspended from a ceiling as installation (reminding me of my Cat Wand experiment)
Possibly, those exploration would be a future area, but going beyond the scope of assignment one. For me the question of making a performative painting with body awareness in space versus the spatial experience of a person through artworks and exposure to sensual stimuli.
* The concept of the kinesfield is employed to describe the relational dynamic of movement interactions that traverse the body and material forms in unbounded space. (Schiller, 2008)
- Schiller, G. (2008) ‘From the Kinesphere to the Kinesfield: Three Choreographic Interactive Artworks’, in: Leonardo. [online]. 41(5), pp. 431-437, At: https://doi.org/10.1162/leon.2008.41.5.431 (Accessed on 10 Dec 2017).