The collective between action and inaction
wednesday, 20th June
Every time a new day begins in TryAngle – now taking place in Marseille -, there is ongoing tension between the will to experiment (test each one’s ideas, take advantage of the opportunity of having nineteen other artists available to share the experience), and while still in the frame of practice, to be able to have feedback and enrich the work in progress with other perspectives and inputs. At least for some artists. But is not easy to find the best way to implement this desire for discursive thinking in a way that involves and mobilises all participants as a collective. So this becomes a recurrent question how to balance this in a project that, while desiring to propose freedom of action, thought and creativity, has a very rigid time duration (concentrated in two intense weeks, that doesn’t give the needed critic distance in order to mature the discourse and the level of research that exists as a potential.
Sometimes what comes out of this tension is inertia. And then, after a first week of vertiginous creative energy, expressed through the emergence of action and practice, it seems that between the inertia and the action, there is a movement towards defining some kind of form that could contain the intentions experimented through both weeks in order to show in the last saturday, the 23rd June, when the doors will open. And between the attraction for stillness and the impulse to act almost nonstop, and create some kind of meaning through art – or at least search for it -, there is the continuous desire for coming together: coming together through an art project; coming together to search for the words more suitable to tell about what is experimented; and exchange points of views about art and the world, and about the questions that emerge in TryAngle, and the first gestures that are experimented in the context of this project. And three days before the end, there is a magic moment that materialises a wish that has been recurrent over the days: how to organise the opportunity for discussing the subjects that emerge from living this experience?
And it came out of an act of apparently refusing to get involved in this more recurrent practice of being in a collective. Apparently. Because the american dancer and choreographer Dani Brown was in a time and space of her own for the first week, escaping to Théâtre des Bernardines to work on her solo. She asked other artists to go to the centre of Marseille to be with her, so she could work with them, but people were busy in the north of Marseille, lost in the delicious secret garden of Gare Franche, working on their own projects and giving themselves as materials or co-creators for the projects of the others. This day (wednesday, 20th June), there was organised a time for everybody involved in TryAngle to see her presentation of the solo in precise moment of work in progress it is now. And this coming together had a kind of feeling of last day, because it is on the lasts days that this kind of presentation happens. She also wanted to hear people talk about her proposal, without any explication or previous contextualization. And the moment end up by being a magic moment of exchange of ideas, of exchange of ways of approaching a work, of exchange of ways of seeing. It was a real moment of coming together. But the question remains: how is it possible for a project of this nature, like TryAngle, to organise these magic moments in a way that they can happen more often, but simultaneously leave the space and time for each artist to inhabit freely his own time and space in the context of a creative artistic residency, even when he chooses to be between inaction or action?