not enough to see

NOT ENOUGH TO SEE is a trans-disciplinary research that explores visual perception as the brain's ability to receive, interpret and act on visual stimuli.
This participatory performance is based on interviews with the audience around the sense of sight. The theme of eyes is treated on its organicity as a physical organ, but also as a tool to build an alternative kind of relationship based on power balance, trust and pleasure in the encounter.
By engaging with the audience directly through interviews and participatory elements, the performance creates a unique opportunity for the participants to explore perception, vision and gaze in order to reconsider the ways in which these experiences shape their understanding of the world and social structure.
NOT ENOUGH TO SEE combines dance, dialogues, theory, music and a video installation. Emboding the ideas of the social and feminist Roslyn H.Bologh, during the live performance the audience is invited into a contemplative and intimate space where the body of the performer plays expectations and tease, moving along of becoming an object of interest to an interested subject. 
The audience’s focus is continually challenged and shifted in this invitation to build a temporary community.

Concept & performance Silvia Marazzi
Set and video design Kristel Zimmer
Video Rebecca McCarthy & Kymbali Williams
Live music Inga Stenøien/Gasper Piano
Sound Wilson Tanner Smith
Costume Karl Joonas Alamaa
Light design Rommi Ruttas, Jari Matsi
Co-produced and supported by : Eesti Muusika- ja Teatriakadeemia, DeBijloke, LOD, KASK, IOA, Conservstorium Gent, HO Gent, Spectra

︎teaser video

As part of the project Timemonochromes, Silvia Marazzi and Guy Vandromme get in close collaboration with the early solo piano works of Morton Feldman (1926-1987) in order to organize a musical living intervention that will be based on the concept of a pop up living sounding installation.
Based on architectural spaces that will become sonoric environments, they will each time set up a temporally installation that will allow to use the space as a sonoric eco-system that is reflecting the outside reality identity of the geographical location.
In this creative exploration Timemonochromes, the movement is truly aimed at meeting the intimate encounter with the substance of sound. Morton Feldman's early piano pieces, have a poetical and painterly qualities. They are absolutely transparent and completely devoid of vanity. Predominantly slow and very quiet, they are also rich, subtle and elegant. Using the same principal of Feldman’s composition, the choreography is unpredictable and circular.
The performance, conceived as a product of a physical-sensitive space that the dancer  and the musician inhabit, is a totally abstract sonic and kinetic adventure.
In this dialogue between movement and sound, dynamics are independent and there is rhythmic freedom within the confines of the box that allows for little more than occasional displacement. The movement and the sound independent but eventually connected, they speak for themselves and articulate the silences.
Working on the silence, the lack, the emptiness as synonymous of infinite wealth of possibilities, openness and freedom.
Void, therefore, is conceived not as a simple denial of the full, but as an existing entity itself. It is not therefore an absolute value, but rather a dynamic and a method that invalidates prejudices to create a void in which everything is shown in its truth. The execution of artistic forms needs a great meditation concentration in order to reach the vacuum state. In this context, empty space should not be filled but enjoyed. In a same way Art does not look for the aesthetic purpose, but the act itself enriches the relationship. Relationship with people, relationship with nature, with objects.
The intuition of void is astonishing, discovering that it exists everywhere and that reality is basically one of possible manifestation of its endless possibilities completely changes the reference points of view.



A project by Guy Vandromme and Silvia Marazzi
Video by Giada D'Addazio 
Photo by Timothé Fillon

Purple - lush, rich, tactile, sweetly and musky aromatic movement an improvisation on Alva Noto and Ryuichi Sakamoto "Vrioon".

Dance and concept: Silvia Marazzi
Camera: Timothé Fillon Supported by:Centre culturel du Brabant wallon 

S

Je change, je me transforme  
Métamorphose protéiforme je plonge 
mon corps s’effondre
(Sono la figlia sono la madre sono sono l’amante sono la santa)

Mon corps se dessine dans un désert sans ombre
Incolore mon échine
Dans la lumière s’estompe

Form- lost -consistency, no -connections no- roots no -communication
I forgot what it was - what it wasn’t now what I feel
(j’ai oublié le sujet)

Sans origine ni fin
Je change je me transforme
Sublime les louves qui dorment

Dove andare come fare devo andare per restare partire non tornare
(I lost my way home )

Shake off my skin like a snake, fluidity of movements

Cerco nelle viscere del mio corpo
suck in my blood - stuck in my bones
- Life

Video performance on Jon Deerhill music about the utopic theme of a hipothetic futuristic nature.

Dance and conception: Silvia Marazzi
Music:Jon Deerhill
Camera: Timothé Fillon

Performance in site specific and art installations by Robert Irwin and James Turrell.

Dance: Silvia MarazziMusic: Jon Deerhill
Supported by: Villa Panza