How do certain interests in sculptural form and situated installations materialize into actions or living installations? Neither concerned with re-staging or re-enacting referential performance art, nor with simply quoting pre-existing historical examples, some artists seem to be more confident in choosing a format which is able to stretch expectations and modes of reading related to performance work.

While opting for sculptural/performative installation, sometimes enacted or mediated also within the specific realm of video technology, these art practices establish a relation(ship) with the fluent dynamics inherent in bodily presence and architecture.

thursday may, 24
paola anzichè & coline garcia:
'the functional fake objects' live

The recent project 'The functional fake objects' has been developed from an interest in a two-folded direction - furniture design and physical gesture. Based on a photographic series devoted to the relation between ideas of functionality and ephemeral sculptures, Anzichè has come close to a work that takes form, each and every time, through sculptural installations and choreographed actions.
The artist was primarily interested in looking for similarities between contemporary dance's postures and the basic shapes of modern design. The body and the person, in this regard, seem to represent a privileged testing ground in order to explore the ergonomics and functional parameters which are the result of an experimental modern tradition introduced by design onto the adaptable possibilities of human bodies.

On the opening evening the acrobat and dancer Coline Garcia will offer two live interpretations.

Paola Anzichè, born in Milan ([1975], graduated at the Brera Fine Arts Academy and at Städelschule, Frankfurt am Main. She recently took part in exhibitions and screening nights at HMKV Kunstverein Dortmund, TAT Frankfurt/Main, Museum Abteiberg Mönchengladbach, and Stadthausgalerie Münster. In March 2007, she had a solo exhibition at Placentia Arte, Piacenza [I].

thanks to stichting outLINE and christine van den bergh
special thanks to amsterdams fonds voor de kunst