Van Cleef & Arpels
Prize for Ballet
12 / 13
La Visita (working title) © Oleg Degtiarov i
The Site-Specific Project La Visita (working title) will bring Peeping Tom’s theatricality, its disruption and surrealism into the new world of art galleries. Through the artworks, the museum’s characters and the audience will be taken into a parallel mental world, portraying what usually remains hidden.
Museums and art galleries have, for a long time now, found its way into the work of Peeping Tom. In Moeder, the performance was set in a space that at once was maternity ward, funeral home, sound booth and art gallery – as if life was exposed for everyone to see.
For the Collezione Maramotti, Gabriela Carrizo will move in the opposite direction, bringing Peeping Tom’s theatricality into the actual art collection. The disruption and surrealism that are an intrinsic part of Peeping Tom’s universe, sneak into this new world.
Some characters are part of the gallery such as the art works on display, giving rise to a double perspective, as if the characters' lives can continue outside the theatre. Some of the characters are also a part of the space itself – such as the security guard or the cleaning lady. People depicted in the paintings will appear, and inanimate artworks will come to life. Gradually, the works of art, its characters and the characters of the gallery will take the spectator into a parallel mental world. The museum, a symbol of stability in time, is confronted here with the temporary and the volatile. Gabriela Carrizo will also work on the viewing, how we look at art and which effect art works can have on us. The spectator is challenged and confronted with himself, asking what is real, what is created, what is art and what is present in his own mind.Sound and light will play an important role as tools to direct the gaze or zoom into certain details that otherwise might be missed or hidden. In addition, through the sound of things – objects and materials – we slide towards this diverse dimension, where bodies are transformed in the same way as plastic and pictural matter. Gabriela Carrizo will also incorporate local extras in the performance creating a link with the local audience and at the same time, offering an important dramaturgical value, since extras will help to blur the boundaries between reality and theatre.
Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F). With Eurudike De Beul, who would become a frequent collaborator at the company, they created a first location project that took place in a trailer home, Caravana (1999).Everything in Peeping Tom's work starts from a hyperrealist setting. The space feels familiar, such as a garden, a living room and a basement in the first trilogy (Le Jardin, 2002; Le Salon, 2004; Le Sous Sol, 2007), two trailer homes in a snow-covered landscape in 32 rue Vandenbranden (2009) or a retirement home in Vader (2014). The creators then break open this realism. They create an unstable universe that defies the logic of time, space and mood. You become the witness - or rather, the voyeur? - of what usually remains hidden and unsaid. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. The huis clos of family situations remains for Peeping Tom a major source of creativity. Presented using a rich imagery, a fascinating battle arises against one's environment and against oneself. Since 2013, Peeping Tom has started to develop productions with other companies and theatres. Gabriela Carrizo created The missing door (2013) with Nederlands Dans Theater. In 2015, she made The Land with Residenztheater in Munich. Franck Chartier directed The lost room (2015) and The hidden floor (2017) with NDT I. In 2013, he worked on 33 rue Vandenbranden, an adaptation of Peeping Tom's original with the dancers of the Göteborg Opera. In 2018, Gabriela and Franck directed 31 rue Vandenbranden. This adaptation of Peeping Tom's show was created with the dancers of the Ballet de l'Opéra de Lyon and opened the Biennale de la Danse in Lyon.