From the 31st of May to the 30th of June 2023
Visualcontainer presents three videos that are part of an extensive research on the haptic image developed by Simona Da Pozzo between 2000 and 2009 through performances, installations and videos.
The selection offers works that propose the duo, as a working methodology, as a layout of the image, and as a somatic relationship between elements, via works that have been realized in the frame of à peau d’écran: a video-dance company founded by Simona Da Pozzo, multimedia artist, and Claire Ubéda, dancer and researcher on somatic movement.
video, 5’ dvcam, color, Simona Da Pozzo, France 2005
Performers: Duncan Lortioire & Kaory Sumah Baldé.
Entre vues is project by Simona Da Pozzo et Claire Ubéda
Production: À PEAU D’ÉCRAN, project realized thanks to the support of LeBel Ordinaire, CDA Pau Pyrénées and Micromega productions, Paris.
Entrevues overlaps videodance, documentary, relational-art and web platforms in a video. Those multiple layers of relation with reality and media connect to braid the ways in which spoken language, movement and behavioural protocols interact in humans’ relational processes.
Using a communication platform, which at the time of the project was beginning to change the sense of distance and relationship in computerised and wired contexts, two children get to know each other with the aim of writing a choreography for the video together.
Duncan, a 13-year-old living in the south of France, and Kaory, a 9-years-old living in a peripheral area of Paris, get to know one each other in the frame of the project by choreographing their own movements during Skype meetings. In the work they interact via their body language, the time that the net imposes, the frame of the webcam: all these elements shape their meetings, their relations and performance.
i._ | i point tiré
video 23’19” dvcam, black and white, Italy-France, Simona Da Pozzo 2006
choreography and performance: Fabrice Merlen and Damien Dreux;
direction, editing, soundesign: Simona Da Pozzo;
ass. director/repeater/ camera movements: Claire Ubéda;
photography and video operators: Simona Da Pozzo and Daniele Vascelli;
Production: À PEAU D’ÉCRAN
Nomade Prize, Bologna 2006
Jumping Frames Hong Kong prize 2006
I Point Tiré explores the sense of habitability by using a graphic device and a systematic writing of movement. An entomological look at the intimacy of a couple who shape and adapt space to the needs of their bodies and their personal history through the use of an industrial material: scotch tape.
The video situates the action of “producing domesticity” in the narrative of a move: daily gestures and the intimate sharing of an environment are renewed and reproduced in the change of home. This elaboration rests on a tactile and somatic dialogue with the surrounding space: bodies and shots re-propose the memory of past movements and sensations in new rooms, where the dwelling is experienced as a garment. Interweaving documentation and fiction, the camera moves and relates as a third/fourth body within the duo.
Video hd 4’53, color, stereo, Italy-France, Simona Da Pozzo 2009
performers: Claire Ubéda, Laurence Crémoux, Simona Da Pozzo
choreography: Claire Ubéda and Simona Da Pozzo
camera: Daniele Vascelli
editing and soundscape: Simona Da Pozzo
produced by Micromega Paris and À PEAU D’ÉCRAN
In a turquoise field, bodies change beams floating in the surface until water is gone. At night, water is the only light: the faces remain in the shadows, resembling those of anonymous beasts. The slow, passive movement maintains the gaze, while leaving it indifferent. The performers work on the concept of passive movement: let their bodies, in a suspended state, be traversed by the movements transmitted by the water.
When the suspended state ends, as the water and light drain away, the bodies quickly take on a frenetic rhythm generated by the different relationship of the body’s weight and support to the environment: their movements resemble those of fish caught in fishing nets. “(…) Many say that sugar is sweet, but me, I feel the sugar as violent” wrote Barthes: that’s the input for Azúcar, sugar in Spanish. Azúcar looks for seduce through the aestheticism of the image. The seduction operates violently by its tendency to hide discourse substance. The editing spreads the elements revealing, denouncing the progressive water vanishing.
Simona Da Pozzo is an interdisciplinary visual artist and researcher with a practice in video and performance working mainly in the public space within an interdependent perspective. She earned professional diploma in film direction (Civica Scuola di Cinema, Milan) Later on, I studied a Master in Fine Arts with an interdisciplinary focus (DNSEP, Paris) and an Advanced Master in Artistic Research in a Socio-Political Context (Sint Lucas Antwerp, Belgium).
Her work has been exhibited internationally at venues such as Museum of Contemporary Art of Caracas (VE); Museum of Modern Art of Moscow (RU), Museum of Oriental Art, Turin (IT) YBCA San Francisco (USA), Hong Kong Space Museum, Experimental Media and Performing Arts Centre, New York (USA) among others.
Recently she has curated Hacking Monument public program at Triennale Museum of Milan and she has presented her Atlas dei Corpi research within the solo exhibition QUANDO SBUCCI IL MARMO, SI FA LATTE, FIUME O VAPORE with the matronage of MADRE (MADRE Museum of Contemporay Art Donnaregina, Naples).