GIRLMACHINE
       
     
  the creation of GIRLMACHINE was made possible by the generous contributions from the following individuals and foundations:  Nancy & Fred Poses, Sonia Raiziss Giop Foundation, Andrefo de Palchi, Marella Caracciolo & Sandro Chia, Amy & Ronald Guttman, Naomi & Irving Benson, Solange Fabiao & Steven Holl, Annie Ohayon, Meredith Palmer  and  Eric Schaub   
       
     
 Performance directors Carlos Soto and Charles Chemin took the Futurist ambivalence toward women as their subject in  GIRLMACHINE , an evening-length performance held in the Teatro of the Italian Academy at Columbia University that kicked off the two-day conference  Beyond Futurism: F.T. Marinetti, Writer . In the words of Soto and Chemin, the Futurists “feared and loathed” women, “reducing them to a pure object, a pleasure tool”—but were also “secretly enraptured and entrapped by the feminine.” In  GIRLMACHINE , a text compiled from diverse sources—including writings by Marinetti, French playwright and filmmaker Sascha Guitry, and New Wave science fiction author J.G. Ballard—formed the basis for a gradually unfolding series of tableaux. Eight black-clad performs moved through the space, exacting slow, sometimes mechanical, sexually-charged choreography beneath monumental silver mylar inflatables, special designed by architect Christian Wassmann to transform the neo-Renaissance-style Teatro with their moving, reflective shapes. The ongoing scripted dialogue mixed Marinetti’s odes to violence with Ballard’s techno-erotics, hinting at a series of lovers’ quarrels and the fragmentation that results. In this associative journey through poetry, novels, manifestos, obsessions, and stereotypes,  GIRLMACHINE  revealed the many layers of Futurists’ conception of gender identity and its relation to contemporary ideas.  — text from RoseLee Goldberg’s catalogue,  Performa 09: Back to Futurism  (2011)
       
     
  performer  Elke Luyten; photographs © Pavel Antonov and Marc Scrivo
       
     
  performers  Mai Ueda  and  Joshua Seidner
       
     
  installation view
       
     
  performer  Alice Stern
       
     
  performers  Joshua Seidner  and  Clara Galante
       
     
       
     
  Performa 09: Back to Futurism  by RoseLee Goldberg (Editor, Introduction), Lana Wilson (Editor), Hal Foster (Foreword); Performa Publications, 2011
       
     
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 program for Paris performances, designed by Carlos Soto
       
     
IMG_3125.jpg
       
     
IMG_3126.jpg
       
     
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GIRLMACHINE
       
     
GIRLMACHINE

Performa 09 / The Italian Academy at Columbia University; developed in residency at The Watermill Center, October 2009; The Arts Arena / American University of Paris / Door Studios, May 2010

created by Carlos Soto & Charles Chemin
installation Christian Wassmann
music Tristan Bechet
performers Nicolas Cartier, Jennifer Dees, Clara Galante, Elke Luyten, Joshua Seidner, Alice Stern, Anne-Laure Tondu, Mai Ueda
texts J.G. Ballard, Umberto Boccioni, Kenward Elmsley, F.T. Marinetti, Valentine de Saint-Point
produced by Luisa Gui
duration 50 minutes 

 

  the creation of GIRLMACHINE was made possible by the generous contributions from the following individuals and foundations:  Nancy & Fred Poses, Sonia Raiziss Giop Foundation, Andrefo de Palchi, Marella Caracciolo & Sandro Chia, Amy & Ronald Guttman, Naomi & Irving Benson, Solange Fabiao & Steven Holl, Annie Ohayon, Meredith Palmer  and  Eric Schaub   
       
     

the creation of GIRLMACHINE was made possible by the generous contributions from the following individuals and foundations: Nancy & Fred Poses, Sonia Raiziss Giop Foundation, Andrefo de Palchi, Marella Caracciolo & Sandro Chia, Amy & Ronald Guttman, Naomi & Irving Benson, Solange Fabiao & Steven Holl, Annie Ohayon, Meredith Palmer and Eric Schaub

 

 Performance directors Carlos Soto and Charles Chemin took the Futurist ambivalence toward women as their subject in  GIRLMACHINE , an evening-length performance held in the Teatro of the Italian Academy at Columbia University that kicked off the two-day conference  Beyond Futurism: F.T. Marinetti, Writer . In the words of Soto and Chemin, the Futurists “feared and loathed” women, “reducing them to a pure object, a pleasure tool”—but were also “secretly enraptured and entrapped by the feminine.” In  GIRLMACHINE , a text compiled from diverse sources—including writings by Marinetti, French playwright and filmmaker Sascha Guitry, and New Wave science fiction author J.G. Ballard—formed the basis for a gradually unfolding series of tableaux. Eight black-clad performs moved through the space, exacting slow, sometimes mechanical, sexually-charged choreography beneath monumental silver mylar inflatables, special designed by architect Christian Wassmann to transform the neo-Renaissance-style Teatro with their moving, reflective shapes. The ongoing scripted dialogue mixed Marinetti’s odes to violence with Ballard’s techno-erotics, hinting at a series of lovers’ quarrels and the fragmentation that results. In this associative journey through poetry, novels, manifestos, obsessions, and stereotypes,  GIRLMACHINE  revealed the many layers of Futurists’ conception of gender identity and its relation to contemporary ideas.  — text from RoseLee Goldberg’s catalogue,  Performa 09: Back to Futurism  (2011)
       
     

Performance directors Carlos Soto and Charles Chemin took the Futurist ambivalence toward women as their subject in GIRLMACHINE, an evening-length performance held in the Teatro of the Italian Academy at Columbia University that kicked off the two-day conference Beyond Futurism: F.T. Marinetti, Writer. In the words of Soto and Chemin, the Futurists “feared and loathed” women, “reducing them to a pure object, a pleasure tool”—but were also “secretly enraptured and entrapped by the feminine.” In GIRLMACHINE, a text compiled from diverse sources—including writings by Marinetti, French playwright and filmmaker Sascha Guitry, and New Wave science fiction author J.G. Ballard—formed the basis for a gradually unfolding series of tableaux. Eight black-clad performs moved through the space, exacting slow, sometimes mechanical, sexually-charged choreography beneath monumental silver mylar inflatables, special designed by architect Christian Wassmann to transform the neo-Renaissance-style Teatro with their moving, reflective shapes. The ongoing scripted dialogue mixed Marinetti’s odes to violence with Ballard’s techno-erotics, hinting at a series of lovers’ quarrels and the fragmentation that results. In this associative journey through poetry, novels, manifestos, obsessions, and stereotypes, GIRLMACHINE revealed the many layers of Futurists’ conception of gender identity and its relation to contemporary ideas.

— text from RoseLee Goldberg’s catalogue, Performa 09: Back to Futurism (2011)

  performer  Elke Luyten; photographs © Pavel Antonov and Marc Scrivo
       
     

performer Elke Luyten; photographs © Pavel Antonov and Marc Scrivo

  performers  Mai Ueda  and  Joshua Seidner
       
     

performers Mai Ueda and Joshua Seidner

  installation view
       
     

installation view

  performer  Alice Stern
       
     

performer Alice Stern

  performers  Joshua Seidner  and  Clara Galante
       
     

performers Joshua Seidner and Clara Galante

       
     
GIRLMACHINE (2009)
  Performa 09: Back to Futurism  by RoseLee Goldberg (Editor, Introduction), Lana Wilson (Editor), Hal Foster (Foreword); Performa Publications, 2011
       
     

Performa 09: Back to Futurism by RoseLee Goldberg (Editor, Introduction), Lana Wilson (Editor), Hal Foster (Foreword); Performa Publications, 2011

image1-3.jpg
       
     
 program for Paris performances, designed by Carlos Soto
       
     

program for Paris performances, designed by Carlos Soto

IMG_3125.jpg
       
     
IMG_3126.jpg
       
     
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