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APORIA

a DEHORS/AUDELA project

concept, film, editing, sound SALVATORE INSANA
choreography and performance ELISA TURCO LIVERI
with the support of LA BRIQUETERIE – CDCN Val du Marne, France; LE MINISTÈRE DE LA CULTURE / DIRECTION GÉNÉRALE DE LA CRÉATION ARTISTIQUE (FRANCE), and FESTIVAL INTERNATIONAL DE VIDÉO DANSE DE BOURGOGNE
and with the support of GRUPPO E-MOTION

APORIA is the first result of our research on hesitation as a psycho-physical condition and as an attitude that opposes the arrogance of always knowing where to go / what to do / what to say.

The aporia (ἀπορία), a concept dear to Greek philosophy, indicates the impossibility of giving a precise answer to a problem.
At a time when the possibility of exercising doubt has been compressed and the rhetoric of speaking clearly seems to leave only two possibilities open: to say yes, or to say no, with APORIA we would instead like to investigate the moment in which we remain stranded, entangled in "Meanwhile", in the bifurcation, in the hesitation in which one withdraws from the story to evaluate the "if" and "how" to orient oneself in the continuation of the action.

He happened to stop without saying anything. Whether he had nothing to say after all.
Whether in the end he gave it up.

S. Beckett, Enough

Progress is replaced by stasis, or near immobility. A restrained movement (a storm held back) a cohabitation of opposing forces. Time participates in its inexorable cycle. Eternal returns or renewed departures. False departures and missed continuations. Against the rhetoric of exclaiming. A restart, start again, stand in the middle, swing. Cells that are generated and then fade out. Or they change due to lateral variations. For nuances. For returns and subversions of the speech. For references. Matches. Sudden bumps and abrupt interruptions. In the interval, what is usually considered a waste, a little meaningless for the development of history.
How does the body behave in the decision dynamic, between a point and the "next"? Between a and b there is the infinite. But we are not allowed to linger, usually. Because the line is created, a blockage of actions that chase causality and do not want to know about waiting.
We are always here, in short. In the impasse of the decision to be taken or to be lost. And perhaps, following Beckett's directions, one must exhaust the possible before moving on. Exhaust the infinite combinatorics of the possible.
Space is as significant as the temporal dimension. A division of clear and almost abstract space alternates with more dreamlike visions. What is the reality, what is its dreamlike counterpart? The coexistence of more floors and more incongruent figures makes diagnosis difficult.
During shooting and editing, a double objective: the place taken up is both unique and universal. The site specific extends towards the topia. Anyone who knows La Briqueterie will immediately recognize the details taken. Those who have never been there can at the same time imagine a place that could be almost anywhere.
The sound score is stubborn counterpoint, a reworking of tracks that lose their original harmonic phrasing in favor of a further loop or that give way to silence.
A factory, every workplace or almost, is a place of inevitable automatisms. The compulsion to repeat is typical of a certain assembly line. In the spirit of the place, our project becomes a possible element of continuous discontinuity. There is a repetition but at the same time there is the instant that precedes the action. An instant that expands and deforms. Up to multiply. Using the undecided spaces, the less connoted places. There where perhaps the workers also lingered in moments of pause. Or where no one ever puts attention.

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