MIRAGE DISPLACEMENT

Olga de Soto shifts her work Mirage from theatre's stage to exhibition space and presents a series of interventions, performances and actions conceived as an ensemble that unfolds into two modules, exploring two different temporalities: that of the exhibition and that of the performance. The scenic object, thus moved and presented in a museum-like space, sees itself duplicated, like the diffracted reflection of an image deviated through the layers of air in the atmosphere, becoming in this transposition movement Mirage Displacement.

The idea of a displaced image taking shape in the air is at the origin of Mirage, which artworks have been conceived in collaboration with interdisciplinary artist Sophie Whettnall. The choreographer reinvests the body and explores the possibility of a double score, concurrently physical and mental, to shape a scenic object made of physicalities and visible dynamics while relying on images and invisible, mentally projected dynamics.

Mirage Displacement evolves into two distinct modules that explore two different temporalities. The first module results from Mirage's creation process and is composed of a series of wandering and durational performances, actions and interventions, partially in the form of a loop. Here, the choreographic work is confronted with the temporality and the embodied experience of the exhibition, while the second module brings the scenic object and its scenic's temporality face to face with the exhibition space.

Mirage Displacement is a work in continuous growth. It deploys itself in the form of a succession and stratification of actions and interventions displayed in the different spaces of the building. The accumulation and superposition of bodies, materials and actions are reminders of the multiple fractures of an event in perpetual evolution, which final duration varies according to the places and contexts of presentation.

The two works, Mirage and Mirage Displacement, contain similar elements (choreographic materials and bodily states, artworks, materials and actions) but exist as separate entities, each echoing the different frameworks of their presentation.

read more (a text by Kasia Tórz)…

FIRST PART (total duration: 3 to 4 hours)
performances, actions and situations

Traceologie
Mirage Conversation I, II, III
Paper Mirage (2021)
Memory in the Forest
Paper Lane
Étude du milieu
Heads

concept and choreography Olga de Soto
in collaboration with
performance Albane Aubry, Edith Christoph, María de Dueñas López, Olga de Soto, Talia De Vries and Meri Pajunpää
sound Benoît Pelé
art elements (at Centrale for Contemporary Art, Brussels) Sophie Whettnall, Olga de Soto
costumes Line De Munnynck

created with (at Centrale for Contemporary Art, Brussels) Albane Aubry, Benoît Pelé, Edith Christoph, Maria de Dueñas Lopez, Olga de Soto, Talia De Vries, Line De Munnynck, Meri Pajunpää and Sophie Whettnall

production Niels Production, in partnership with Centrale for Contemporary Art, Brussels
coproduction Charleroi danse – Centre Chorégraphique de la Fédération Wallonie-Bruxelles, Pôle Sud – CDCN de Strasbourg, Le Vivat – Armentières, in partnership with NEXT festival, ICI— Centre chorégraphique national Montpellier - Occitanie / Direction Christian Rizzo
supported by Fédération Wallonie-Bruxelles, Service Général de la Création Artistique — Service de la danse

presented for the first time on May 25, 2019 at Centrale for Contemporary Art, as part of Sophie Whettnall and Etel Adnan’s exhibition La banquise, la forêt et les étoiles (The Ice Field, The Forest and The Stars), in the frame of Brussels Art Summit, in collaboration with BOZAR and WIELS.

Mirage - displacement (1st part)
Presentation in the frame of Sophie Whettnall and Etel Adnan’s exhibition The Ice Field, The Forest and The Stars, Centrale for Contemporary Art, Brussels © Eric Danhier