Zorbar re-interprets the Faustian reference of “Verweile doch! Du bist so schön!” (“Stay a while! You are so beautiful!”) into an artistic commitment to deceleration and slowing down. The site-specific installations in the former church area of Kunsthalle Osnabrück are an attempt to approach to the crisis phenomena of the 21st century through transparency, analysis and disclosure. The artist’s installations are produced on site and partly loaned from international collections and museums. They give the audience the opportunity to understand the construction plans of the analogous age and make interactive participation possible.
The exhibition "Verweile doch (ein Abgesang)" takes place in a former Dominican church with a converted cloister complex. The nave of the church is darkened in order to stimulate reflections regarding the aging processes of technology, societies and epochs. For this, Icaro Zorbar presents the circuit diagrams of time and transience and shares with the audience his knowledge of the “slowing down” of temporal processes. Planetary constellations, world-clock machines and tragic love relationships, etc. are meticulously staged to show how time passes in their natural, unpolished state. Poetically Icaro Zorbar touches on the phenomena of decreasing importance: For example the artist mourns the fact that in 2006 Pluto lost its planetary status and was downgraded to that of a dwarf planet. Like all minimalists he emphasizes that downgrading does not necessarily mean any less importance. Icaro Zorbar's choreographic installations can always be seen as a phenomenology of dance as self-movement. At first Zorbar’s installations appear simple, but on taking a second look they analyze the complex relationship between tempo, movement and music. On a visual level, Zorbar creates a slow-motion phenomenon that is reminiscent of modern dance. Made with minimalistic precision, it allows room for random chance and above all for change through time. The projection installations create strange-alien-controlled creatures and flying objects. Overall the installations seem to be inter-connected and could be combined together with unlimited possibilities. Zorbar creates re-animation scenarios that are suspicious of digitalization as a paradigm, but are nevertheless exposed to it. Resistant to the temptation to be taken over by the "dangerous" epoch threshold: Their silent plea "We remain analogous!" reminds us of the self-conscious turning away from outside control (2001: A Space Odyssey). Slowly the ability to remember the knowledge of the past disappearsHere am I floating round my tin canFar above the WorldPlanet Earth is blueAnd there's nothing I can do (Space Oddity by David Bowie)
Icaro Zorbar was born in Bogota, Colombia, in 1977, where he completed a bachelor's degree in film and television and an MFA in fine arts. He is currently continuing his studies at the Kunstakademie in Bergen (Norway). His biography includes exhibitions in Latin America, the USA and Europe. His installations were exhibited at the New Museum in New York and the Sao Paolo Biennale. They are located also at international collections such as the Mudam Luxembourg and the Thyssen-Bornemisza Art Contemporary in Vienna.
The Osnabrück co-operative project Mary Wigman (1886-1973) was one of the most important and influential protagonists of modern dance in Germany in the 20th century. In 1917, she created a “Totentanz” (“Death Dance” / “Danse Macabre”) which she performed to the music of Camille Saint-Saëns in Dresden in 1921. Four years later she worked on a second “Death Dance” for her dance company. The painter Ernst Ludwig Kirchner was a "silent partner", "ever present and always inspiring". His drawings and sketches produced the famous oil painting “Totentanz” and also other paintings of Wigman’s various dance choreographies. In 1926 the "Totentanz II" was premiered in Königsberg. This "Totentanz II" was the occasion for the cooperation project "Danse Macabre - Totentanz", in which four Osnabrück cultural institutions deal with the different aspects of the theme. While the Dance Company Theatre Osnabrück's performs these historical dances by Mary Wigman it seeks to contrast two new contemporary choreographies relating to this theme. The Felix-Nussbaum-House Osnabrück, the Kunsthalle Osnabrück and the Diözesanmuseum Osnabrück are devoted to the motif of “Totentanz”, which extends to the present. (Cited from the Press Release of the Theatre Osnabrück)
The exhibition in the Kunsthalle is sponsored by the Lower Saxony Ministry of Science and Culture. The program of the Kunsthalle is being developed in collaboration with the Friends of Kunsthalle Osnabrück e.V.
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