The Edges of the World
Large-scare Sculptures
Ernesto Neto
Hayward Gallery
London
19 June -- 5 Sep 2010
Before starting the discussion about the application of interaction in The Edges of the World, it is worth making a clarification of Neto’s large-scale sculptures are theatres, in specific invisible immersive theatre.
Firstly, we should go back to the question what theatre is? In comparison with fine art installation, for me, the theatre is an installation with (within) body and his action. At this point, the incorporating spaces both for view and for play of The Edges of the World allows visitors to move freely through and around it, then it is a theatre as the combination of bodies’ movement and installations.
Secondly, what kind of theatre can be called as immersive theatre? As previous arguments in dissertation defined, the identities of immersive theatre are reduction of reality, aesthetics, emotional and resonance. Then taking these characters in The Edges of the World, visitors are encouraged to “wander through fabric installations, relax in cushioned soft spaces, ascend stairs into artworks overhead and, following on from Neto’s signature ‘nave’ works, venture barefoot through an all-encompassing nylon vessel […] whether submerged in a sculptural pool or balancing on an undulating path, visitors find themselves becoming active participants in the artworks”. Those abstract biomorphic quality creations are reductions of reality (or at least they are produced according to the real human organ and celling), and they achieve resonance by creating sensuous sculptures and then raising echo in emotion.
Finally, The Edges of the World will be put in the theory of invisible performance. Augusto Boal said: “in invisible theatre the spectator is transformed into a protagonist in the action, a spectator, without ever being aware of it. He is the protagonist of the reality he sees, because he is unaware of its fictitious origin (1992: 17)’’. Any space without actual actors but with body action can be named as invisible theatre, and its invisible actor is unawared audience, its invisible acting is just spectator’s movement, which accords with Neto’s formulation people“in between is a kind of dance”.
Neto successfully created “an art that unites, helping us to interact with others, showing us the limits, not as barriers but as a place of sensations and of exchange and continuity”. However, there are still some promotion spaces, for example taking videos of engaged participators to create another interaction piece for video watchers.
Reference:
Boal, A. (2002) Games for Actors and Non-actors: Second Edition. Trans. A. Jackson. London: Routledge.
Southbank Centre
http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/exhibition [last accessed 2 July 2010]
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