The dancers are stretching the tape around the columns, tracing the choreography with a transparent tape. The result is some kind of "tape recording", a map of movements of the dancers. The other benefit of the concept is the overcoming of gravity through the production of second dance floor. The primary recording structure becomes the underlaying surface of the subsequent recording. The catharsis of the play can be achieved by cutting and later contraction of the structure into amorphous accumulation of crumpled tape.
02-Installation
19 cardboard tubes_118 roles of scotch tape=7788 m=16.3 kg_96 working hours_100 Euros_12 x 5 x 4,5 m in size
Cardboard tubes acquired from waste of carpet dealers were fixed at the floor and the ceiling. The tape was first randomly wrapped around the columns, forming the cords of the future spatial structure. From the subsequent multiple wrapping of tape over tape the complex organic surface of the installation emerged. Even though various geometrical systems of addition of the tape were tested during the building of the installation, the resulting shapes were always mutually similar, as if the forms with chaotic, organic growth have the same, ungraspable inner order as natural beings.
Extracts from the discussion held at the Gallery of Croatian Designers Society on May the 29th 2009
Installation in the Gallery of Croatian Designers Society is in a certain sense opposed to the modernistic aesthetic that has characterized group's product design. "Gradual shift of the relationship towards the form" is evident, so Maroje Mrduljas describes this installation as "an attempt of control loss."
Important characteristic of this project is that it is self- initiated. It presents designer's attempt to turn around the process in which the set designer gets involved in the project after the text has been chosen."Each time you find yourself in the situation where your work is some kind of service for something, and if your set design is good and strong if often dominates the play. In this experiment we tried to explore the inverse approach, to come with a system or a technology and offer this idea to the director so he can get inspired by it, and find the appropriate text or theatrical principle pliant for it." A partly spontaneous process of building of the installation and it's fast decay which was about to happen, Sven Jonke associated with what he calls a formal dramaturgical context: "This installation has the same dramaturgical line which is constantly repeating in all the texts, the evolution and consequent destruction or release of tension, catharsis."
Set design ideas which transform the principals of theatric work, and simultaneously serve as installations, experiments or ideas for exhibition designs, are in line of design thinking focused on problem solving. "The experience of building this particular space can be returned in design", says Maroje Mrduljas, as in the case of the new shelf from "Element" series where there is a similar case of overlapping non-orthogonal layers. In products which partly evolve from spontaneous work as in case of the installation or proposed set design where the dancers build the set during the performance, the designers claim the authorship on the system, and not on the outcome.
Ana Bakic also believes that the set designs don't have to be "...frozen pictures attributed to the show. They can be emancipated artistic experiments, where the form functions both cognitive and spiritual."
"In architectural sense this installation activates the space, it relies on it, " said Dominko Blazevic," so its hard to think of it as set-design. This is an action-sculpture...here has happened something uncontrolled, where the openness of the form and the virility of the object are of the utmost importance."
This project has been shown on may 2009 at the gallery of Croatian Designer's Society.
For Use (Sven Jonke, Christoph Katzler and Nikola Radeljkovic) is a group of designers based in Vienna.
