every morning from July 26th to August 19th, 2022 I walked in the woods above Rietz, in Tyrol. the duration of the walks varied from 40 up to 80 minutes. the starting time varied between 7:30 and 9:30 in the morning. the route, after the first 5-6 days of research was almost always the same. what follows are notes of observations, emotions, social and environmental gazes. the notes follow a chronologically disordered but emotionally coherent order to make it less boring. the form of restitution ranges between prose, poetry, asocial dramaturgy, and spatial writing, to make it less boring.
to move is to move a vector in space-time. to move is to generate the possibility of encounters-collisions in space-time. to move is to give possibilities for birth and regeneration. to move in repetition is to notice novelty in the ordinary. to move in repetition is to break barriers and boundaries. to move in repetition is to walk on the liminal edge of humanity. to move in repetition is anti-capitalistic. to move in repetition alone is not enough. one must train the ability to see and observe oneself in repetition. walking is a practice. observing is a practice. moving one’s body as a vector within space-time, even a sick and contracted body, is to empower bodies to expand and compress and to give possibility to life or death. walking is activity and activism, versus passivity and passivism. moving and walking nowadays are acts of revolution, both physically around a centre and both mentally around imagination.
PHYSICALIMAGINATION
installation, 2022
The installation is part of an artistic research about imagination. The audio you will listen to have been recorded during the residency, inside the space of GRUND, after an individual interview each person had with the artist. The people you will listen to are part of the people who inhabited the space of GRUND for the duration of the residency.
Carina
The recordings springs from an activity which required the participant to engage in an active use of imagination. Through interacting with a phisycal medium, in this case the body of the artist, the dreamers have stimulated in different ways an internal production of images. Each one resulted in a unique language due to the different patterns in the working of our imagination.
Giulia
Different categories of imagination emerged: spatial imagination, memories, abstract imagination and cultural imagination. The research is aimed at stimulating a reflection over the lost knowledge of imagination, over our ability to clasp things with our inner claws. In this times of crisis, to image new futures we need to be in contact with what Colin Wilson defined as “the ability to grasp realities that are not immediately present” : imagination.
Our only way to access reality is through our senses, and we continuously reveal and obscure information from the world in order to survive. At the heart of this facilitated space is a collective exploration of what insights we can gather from our senses and which stories emerge from them. The object of this research is the space of GRUND at the specific moment of the residency, considered both in its physical and social dimensions. The objective of the activity is to provide a ground for inspiration, trust and awaren
Carlo Sella
(Lugo, 1994), transdisciplinary actor and artist who works at the intersection between art and ecology. He studied phisycal theatre at the “A. Galante Garrone” school in Bologna, and then he specialised in sensorial and musical theatre in Parma and Modena. He then moved to Barcelona to study Political Ecology, where he now teaches Art and Environmental Justice. He works wiith transdisciplinary projects revolving around theatre, science, ecology and education.
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