LA VITRINE / OTTO PROD
La Vitrine / Otto Prod
In the context of already traditional working holidays in as well traditional location / in the places of Cultural centre Pekarna?) – the multidisciplinary art collective La Vitrine / Otto Prod performed six separated projects in different art medias during their residence.
The projects can be divided into acoustical and spatial situational performances. Acoustical performances were mostly based on the construction of the specific musical instruments by visiting artists, their positioning in the performance space, and especially on exploring the relations between performer, instrument, space and audience (for instance, through the intervention of the audience).
The latter denotes both the spatial layout of the drum set, and the concert Drumkitt and Unstatic of Yann Leguay with members of collective performed in Hladilnica, as well as the electro- acoustic event of Lucien Gaudion at the Salon of Applied Arts, entitled Draw lines. The last can be situated in the context of spatial and concrete music; it is actually based on a dialog between, especially for the preformed space built speaker system, sound material of space and artist’s interventions.
Additionally, the author has performed the Maribor-bor event in Pekarna, based on the sound equipped wooden stump, which has through the interaction of the audience produced more or less coincidental sound totality.
For the residential artists Pierre Etienne Morell and Louise Drubigny it is typical to establish situational installations - performances, marked by few central components: installations – performances are situationally specific, positioned in formal and/or wider contextual specifics of space, while the positioning is usually manifested through central formal cornerstones – some sort of cords. Performative element of installations enters the presence of performances carried on triggers in or at any area randomly positioned tendons and carefully thought-out dramaturgy of the whole happening, which is based on the contrast between the duration and the termination, immutability of the designed situation and its sudden change. In the spaces of Pekarna they created two installations: the first one some sort of a live painting in the area of Garaža – presented the intertwinement of the composition of blackened, bare beams, burned buildings, ruins and performers on the floor.
The spectators observed some sort of situation of a state of war and victims through the window frame. Long lasting, unchanged situation was at some point interuppted by invisible intervention of the performers, who triggered strained chords accross the room.
Another situation in the areas of Hladilnica was based on chords, coated in black pigment and strained over a white wall, with one performer on each side and a guitar stuck between them. Unchanged situation was again activated by intervention of the performers – suddenly released chords were in this case accompanied by a spontaneus explosion of applied colored pieces. The residence and the creating of a collective ended with project Plastic Bertha, two-piece impressive performance based on a central element –air filled translucent shapes. The latter either through manipulation of performers or spontenous movements of the audience established the impression of life of the autonomous beings.
Text: Kaja Kraner