Peterborough – Chicago – Halifax – Parrsboro – Corner Brook – St-John’s –
Last show Oct 25th – 6:30 pm
reserve – limited seating – firstname.lastname@example.org
One of this year’s most striking performances happened beyond the borders of the FTA’s programming, though most of the dance folk in attendance managed to trek by foot, bike or cab to this out-of-the way event. Bringing together the realities of soundscape and urban landscape, Peter Trosztmer’s 5 Out of 6 Machines, in collaboration with Jeremy Gordaneer, is a performance/installation piece set in the foundry-like environment of an abandoned lot in the southwest borough of Griffintown in Montréal, surrounded by massive condo construction and autoroutes. In this piece Trosztmer is working intimately on every level, in contrast to what a Ponifasio, say, is doing impressively on a big scale in a theatre. What appeals to me about Trosztmer’s presentation is how expressive the work is. His sparse undertaking resoundingly underscores the force of the body and the pure physical pleasure an artist can have in performance.
Philip Szporer (the dance current)
(141 rue Ann),
A performance/Installation/immersive environment inspired by the six basic machines – the wheel, the pulley, the incline plane, the wedge, the lever and the screw.
Drawing on his passions for architecture, physical performance and manual construction, Peter Trosztmer has taken over a remarkable site where 100 years ago, coal was burned to create steam that was piped out to heat and power the Montreal downtown core.
Today, it is an archeological site for human innovation in Griffintown, a central yet hidden industrial neighbourhood rich in its history and heritage. Created from objects found on site, the work is a symbiosis of environment, process and collaboration.
This project is supported by the following: Studio 303, CALQ, Harvey Lev (property owner)
5 out of 6 Machines: is an attempt to take the disaffected environment of a neutral space and make it move, breath, sound, dance. Creating a space for the audience to enter, breathe into, wait. My physical language zeroes in on what motivates us (me) and keeps us (me) going through times of duress. It looks at how much I (we) can take before I (we) begin to break down and stop working efficiently. I am searching for and discovering my own physical motivational systems and their limits.
The intention for this project is to build a dynamic environment in which everything is changing. It becomes an analogy for our world where nothing stays the same. Sculptures will be largely interactive and made from recycled materials (rusted metal, old wood, and cables) imbued with the ghosts of time gone by, adding texture and atmosphere to my performance environment. The materials used for sculpture have a subtext that allows for a renewed perspective on unused, overlooked, or sometimes-undervalued materials and encourages the idea that people view the old and discarded in a multiplicity of ways, inviting the outside and everyday into our “theatre”, gallery, site.
could be better you google map it yourself – better directions coming
– it is a nice walk from Square Victoria or Meter Bonaventure.
A little later on:
Kind of Day 2
Some Photo’s taken by Sonya Stephane
– video of early sound research for previous EESTI … –
a nice article written in BLOUIN ARTINFO –