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Session 4 IRREGULAR SECTION: ‘Los Micrófonos’ / ‘Salomania’

January 10 & 11
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Los micrófonos, by Jorge Dutor and Guillem Mont de Palol

Because we love music, because we love to sing, because music is a way to reach directly into other peoples’ bodies, because we like pop, because we are pop and because pop stirs our collective memory. Why does everyone remember All you need is Love by The Beatles and why we are we able to sing Mujer contra mujer by Mecano over and over again?

Hey Mr dj put a record on I wanna dance with my baby!
In Los micrófonos, Jorge Dutor and Guillem Mont de Palol immerse themselves in a shared universe, something that is always around us: pop culture. Playing with and recomposing lyrics, chorus lines, song titles and other elements of pop culture they evoke landscapes that take the public into a field of personal memories and wild associations to create relationships between the different proposed elements.

Last Night a Dj Saved my Life
How do we become microphones to amplify our discourse? How do we take possession of pop culture to suggest rhythms, dynamics, feelings and emotions that open the eyes of the spectators and make the listeners prick up their ears? What does being pop or popular mean?

Our thanks to Whitney Houston, Amy Winehouse, Kurt Cobain, Michael Jackson, Jimmy Hendrix, Grace Jones, Britney Spears, Le Chic, Courtney Love, Opus III, 2 Unlimited, The Spice Girls, Daft Punk, The Beatles, Beyoncé, Rihanna, Corona, Mecano, Tina Turner, Céline Dion, Freddie Mercury, Depeche Mode, The Pet Shop Boys, Kim Basinger, Justin Timberlake, Nicole Kidman, Madonna, Sigourney Weaver, Europe, Rolling Stones, Spandau Ballet, Mina, Gloria Gaynor, Sabrina, David Hasselhof and Catherine Zeta-Jones. Without them it would not have been possible!

Guillem Mont de Palol and Jorge Dutor have worked together since 2008. Guillem graduated from SNDO (School for New Dance Development, Amsterdam) in 2006. He is a choreographer and performer. Jorge studied at the RESAD (Real Academia de Artes Escénicas de Madrid). They began to work together in Amsterdam and have produced two pieces since then: UUUHHH. Yo fui un hombre lobo adolescente inventando horrores and Y por qué John Cage?. Both works have been staged at very different venues, such as the Antic Teatre (Barcelona), La Casa Encendida (Madrid), Festival Escena Abierta (Burgos), AltVigo, Short Theatre Festival Roma, Festival NEO (Barcelona), Festival In-presentable (Madrid), Living Room Festival (Madrid), La Alhóndiga (Bilbao) and GIFT Festival (Newcastle), among others.

Their artistic interests focus on language, voice and physicality, body, musicality and rhythm.

Los micrófonos was premiered at the Festival TNT (Terrassa Noves Tendències) on 6 October 2013. This show was developed while attending artistic residencies at Spazio, AZALA Workspacebrussels and BUDA, Kortrijk (www.budakortrijk.be).

Both of them draw on their own work to collaborate with other artists. Jorge has worked with Aitana Cordero, Sara Manente, Pere Faura and Aimar Pérez Galí among others, whereas Guillem has collaborated with Xavier Le Roy, Mette Ingvartsen, Frederic Gies and Vincent Dunoyer among others.

Salomania, by Pauline Boudry / Renate Lorenz

Film, 17 min, 2009

Performance: Yvonne Rainer, Wu Ingrid Tsang

Salomania reconstructs a dance: the ‘dance of the seven veils,’ from Alla Nazimova’s 1923 silent film Salomé. Also shown and rehearsed are sections from ‘Valda’s Solo,’ which the choreographer and filmmaker Yvonne Rainer created after having seen Nazimova’s film. The installation takes up Salome as a transgender figure and the motif of a queer appropriation of the exotic. The performers are Wu Ingrid Tsang and Yvonne Rainer.

At the beginning of the 20th century there was a wave of excitement about the character of Salome, which soon earned the name ‘Salomania.’ Women got together and imitated the dance of the seven veils. A series of dancers became famous for their interpretations of Salome. The figure of Salome stood for entrepreneurial independence and sexual freedom and became an icon of ‘sodomite’ subjectivity.

The script of the silent film Salomé is based on the play by the same name by Oscar Wilde and follows the Biblical story of the Jewish princess Salome. King Herod desires his youthful stepdaughter Salome. She in turn is interested in the missionary Jokanaan (the Baptist), who, however, rejects her. She gives in to Herod’s desire to see her dance, then demanding the head of Jokanaan on a platter as her reward. She kisses the severed head.

The installation ‘Salomania’ takes up motifs from the silent movie, such as gazes, the active desire of Salome, and the figure of the veil, but also elements of Art Deco, which the movie celebrates. This prevailing design style of the ‘20s and ‘30s applied modern materials and images of technological progress. But why have they been mixed with material and images of the ‘Oriental’ such as ostrich feathers and palm trees?

While the images of ‘farness’ and of the technological can be seen as part of colonial politics, further familiarizing the spectators with the ‘foreignness’ of the colonies, but also seeking to justify colonial domination, at the same time they have been transformed by the film ‘Salomé.’ Here they are established as images that make space for female or ‘transvestic’ fantasies and desires. A space between the genders and between Orient and Occident appeared to be possible.

Pauline Boudry and Renate Lorenz both live and work in Berlin. Their staged films and film installations often revisit practices and materials from the past, usually photographs or films, referring to, and excavating forgotten moments of queerness in history. Their works are engaged with bodies which are not only able to cross different times, but also to draw relations between those times, thus revealing possibilities for a queer futurity. Their most recent publication is called “temporal drag” (Hatje Cantz, Ostfildern 2011). Their most recent film installations are titled “Toxic” (2012) and “To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation” (2013). www.boudry-lorenz.de

Filmed on HD-Video
Length: 17 Min. Loop
Director of Photography Michelle Lawler
Super 8 Photography Micki Pocklar
Sound Karin Michalski
Light Jennifer D’Urso
Sound Design Rashad Becker
Choreography Trainer Jürgen Bogle
Media Managment/ Set Photography Kaliisa Conlon
Location: Los Angeles