Ryan Gander, As loose as anything | A Performance Cycle
3 March 2010
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Altrospazio
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Altrospazio
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Karolina Szewczyk
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Altrospazio
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Karolina Szewczyk
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Altrospazio
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Altrospazio
Ryan Gander, As loose as anything, March 3rd, 2010.
Aula Magna, Liceo Artistico Ripetta, via di Ripetta 218, Rome. Ph. Karolina Szewczyk
A project by Nomas Foundation, Rome
Curated by Cecilia Canziani and Ilaria Gianni
In collaboration with the Accademia di Belle Arti di Roma, Cattedra di Fenomenologia delle arti Contemporanee, Professor Cecilia Casorati
Under the Patronage of Comune di Roma Assessorato alle Politiche Culturali e della Comunicazione
March 3rd, 2010, at 6.30pm - Ryan Gander, As loose as anything, 2010
Liceo Artistico Ripetta (aula magna), via di Ripetta 218, Rome
A contemporary dance choreographed to resemble a 10 minute section of a lesson by a classical dance instructor.
I have decided I'd really like to make a dance, I like the idea firstly that something might happen in the lack of knowing and secondly that something might happen in the Chinese whisper type translation of instructions...Thinking about dance schools and dance classes, the subject who is most studied is the teacher... every one is watching the teacher right?? But no one studies the teacher’s entire movement as a choreography, it is as if we only pay attention when the teacher is demonstrating, we edit time with our minds and we snip out the upstaged (i.e. the teachers drinks from a bottle of water, the teacher stretches, the teacher turns up the ghetto blaster, the teacher rewinds the song, the teachers adjusts his clothing, the teacher points at a student and shouts at them for not paying attention). My choreography perhaps should be a dance of the teacher. I think we should video a one hour class, of a dance teacher teaching a ballet class and then I should edit the video to the bits I want and we should give that DVD to a young dancer to learn and mimic the movements there in Italy. Then for the performance she will dance the re-enactment. I am thinking on the line of collecting and cataloguing as to take a movement out of context and to study it or record it in isolation, and of course the chicken and the egg, the cycle of teaching, of mimicking, of miming as a cycle of learning through repetition. Would this be possible? And would it be possible to record this performance for me to use it for another work? Best, Ryan*
*fragment from a conversation between the artist and the curators