In a white limbo. Like a Fashion Show. Like a collection of insects. Like a ballet. Romanticism that goes beyond the ‘contemporary’ and its conceptualisms, simultaneously cooled and made incandescent by a look of lacerating and distant citation, dedication and oxymoron. A journey through the body that exposes itself in the most extreme, aseptic and ascetic nudity, carrier of wonderful clothes in which to hide and celebrate its darkness, exalting and projecting itself in a mythological horizon. Sylphidarium evokes the choreography that was the origin of the romantic ballet, La Sylphide, featuring Maria Taglioni in 1832, the affirming act of the pointe shoes and the tutu. It evolves in Les Sylphides, abstract evocation of its moon-like fumisterie of 1909, mutating now towards entomology with the sylphs, beetles that feed on carrion and are used by scientists to trace the time of death of a body.
An autopsy of classical ballet, transformed and hybridized by gymnastics, acrobatics and bodybuilding, presenting an aerobic finale, modeled on Jane Fonda’s keep-fit videos, with spatial silver outfits, in the midst of a white scene that wants to repeat the dazzling effect of twirling tutus. The fantasy connects with the ironic dismantling of balletic scenarios, of the story of Adolphe Nourrit, as the upward leaps fight against the disarticulation of the erect posture or freeze in tableaux that seem to stop time in a hybrid frame between the past, today and the future.
A glowing work, supported by the highly mobile music composed by Francesco Antonioni and the iridescent, real, slightly crepuscular and imaginative lighting by Fabio Sajiz. A reflection on the forms of tradition in order to draw a mutant body, surpassing stereotypes typical of the "contemporary" genre, to venture into uncharted territories that go beyond the etiquette of predefined shapes and also that of contamination, in search of its generative urgency for expression.