Amalgama- Maria Gorgia

Posted on July 15, 2011


Little Death – photo Elena Kanaki


YES  to spectacle and anti spectacle

to virtuosity and anti virtuosity-simplicity

to transformations and magic and make-believe

to the glamour and transcendency of the star image

to the anti glamour and fragmentation

        to the heroic and to the anti heroic

to trash imagery

to involvement of performer or spectator

to style

to camp

to seduction of spectator by the wiles of the performer

to eccentricity

to moving or being moved


all the above serve a purpose of commenting, criticizing society, give cause of concern, puzzle, fighting for something.

NO   to Art for Arts own sake (anymore!!!)

Little Death photo Elena Kanaki

Little Death photo Elena Kanaki

I am intersted in The Applied Social Arts by Artur Zmijewski, and by his work overall.

The Applied Social Arts

Instrumentalisation of autonomy makes it possible to use art for all sorts of things: as a tool for obtaining and disseminating knowledge, as a producer of cognitive procedures relying on intuition and the imagination and serving the cause of knowledge and political action. Naturally, art may still perform its its classical function and express „the most poignant moments of the human condition.” Control over autonomy is not the only kind of control that shoiuld be achieved. There is still the problem of originality and opaqueness. These too should be tools that can be used freely when the need arises. One would have to strip originality of its judgmental function, that is its propensity for control and exclusion.

I think that art could try and restore the original meanings of words. The term autonomy would then mean the right to choose a sphere of freedom instead of being an extreme personality trait. Originality would be a sign of creativity and not novelty at all costs. And, finally, opaqueness would be indicative of the difficulty of a message, not its illegibility and inability to communicate.
Will dependence on other discourses: politics and science not lead to an ideological reduction of content to what is useful from the standpoint of a group’s political interests, for instance? Such a risk does exist but there are at least two reasons why it should be taken up:
1. Art manages very well in risky areas, while the „uselessness” artists feel can encourage risky behaviour. Wilhelm Sasnal said he sometimes feels like a „gallery louse” in collaborating with an art world that produces tautological references. Dependence on clearly „utilitarian discourses” is in all likelihood a subconscious desire on the part of artists expressed in fantasies of change that could occur through the agency of art.
2. Politics, science, and religion can do what art no longer can: achieve a connection with reality by producing useful tools: tools for the implementation of power and of knowledge. By becoming once again dependent art may learn how to be socially useful, even at an operational level (it already knows how to challenge reality and can count on support for its proliferation of rebellion).
A good example of an artistic activity not afraid of entering into various forms of dependence is film. Film is literally „used” by various discourses. Film is a way to intervene, fight for something, inform, educate, update knowledge, tell fairy tales, persuade, call attention to problems, critical junctures, etc. And film is very close to the realm of art. Today, the camera is the artist’s best friend.
In a text about Elżbieta Jabłońska critic Dorota Jarecka asked: „Whom should art serve today, and for what purpose?”… [Should it] engage in political discussion that will always be inadequate when placed against the discourse of philosophers and sociologists?”14 Yes, it should engage in such discussion. Art will enhance that discussion with its ability to use different strategies, its familiarity with intuition, imagination, and premonition. Unfortunately, art also has severe weaknesses and tends to dismiss its own importance. It has infused its discourse with self-compromising, amnesia, and recurring ignorance. Theoretical subjects in art school are taught as if they were merely a device for expanding the memory rather than exercises in thinking and discovering the world. There is doubtless some political interest in keeping art weak by forcing it to flounder between ignorance and knowledge. By having it perpetuate seemingly useful clichés regarding beauty and the artsy types who produce it. In the collective circuit of power, art is never „charged” as its „inventions” are not accepted. Arrested on the verge of the rational, it makes its actions out to be nothing more than vivid yet irrational fantasies. In the 1990s it played the rube, paying its share of the bill for the changes happening in the country (that would partly account for the scandals around art in recent years) – knocking on a weak discourse pays off in the economics of national frustration. In any struggle for power somebody has to play the useful idiot – and art with its naivete and lack of defensive strategies was often used for such a purpose, notably by the LPR15. We all lost out on our the failure to use the cognitive procedures developed by art to any greater extent. Procedures based on intuition and imagination, procedures based on denying one’s righteousness and giving up judgementalism.
Intuition and the imagination embrace repressed and denied fantasies, desires and needs, and help search for ways to satisfy them. Renouncing the role of judge will reveal our collective and individual complicity in the injustices of the system. Then it will no longer be „them” but us who will share responsibility for the way our shared reality looks.

Little Death photo Elena Kanaki

Devices for generating  and composing movement and enhancing creativity

Contact Improvisation
Text and Dance devices
The use of any other technique is possible, (i.e.Classical Ballet) if it is necessary in terms of its semiotic functions in relation to the ideas of the work.

mama 2U photo Aggeliki Svoronou

Amalgama aims directly at the creation of contemporary plays. These plays are based on a “conversation” with other art forms. Since 2002 they release a humanitarian character, keeping at the same time an open window for social and aesthetic speculation This kind of speculation unfolds in pathways such as the art’s space in contemporary social actuality, the relation between form and ideology , the relation between marginal and massive consuming art.

AmalgamaDance Company promotes the idea of  personal creation , showing plays that present some conspicuous  kind of individuality . This sort of “qualitative research” is related to artistic expression, to  kinetic language and all the other elements that constitute a dance show as well as performance art  (i.e. sound, décor, props, video art, lights, etc)

 Amalgama promotes strongly the creative participation of dancers and all other contributors of each show in such a degree that this interest tends to constitute on of its foundational principles