From the Onassis Stegi and Onassis Channel to the world: “All she likes is popping bubble wrap” by Ioanna Paraskevopoulou goes to Mexico, Ireland and Spain
Following its digital premiere at the Onassis New Choreographers Festival 8, Ioanna Paraskevopoulou’s “All She Likes Is Popping Bubble Wrap” travels to Mexico, Ireland, and Spain. Three remarkable festivals welcome a very special sound and image performance.
Photo: Andreas Simopoulos
The first stop is Mexico and the sixth Mexico City Videodance Festival (Festival Internacional de Videodanza de la CDMX) on September 2, while from September 23 to 26, Ioanna Paraskevopoulou will be hosted in Limerick, Ireland and the Light Moves Festival of Screendance. The last stop for this fall is scheduled on September 28 and till the end of October, when “All She Likes Is Popping Bubble Wrap” will visit Bilbao, Spain, for the Bideodromo International Experimental Film and Video Art.
The choreographer who traveled around the world as a dancer performing in “ANONYMOUS” and “ION,” presents yet another very promising work that responds to new questions such us: how do two parallel activities affect the viewing process; how can the different temporalities of the two images lead to multiple performative correlations and/or abstractions; and eventually, what are the discovery mechanisms of identification that are activated during an attempt to formulate a fake virtual entity?
Photo: Andreas Simopoulos
The screen is split in two. One side shows a montage of archival film images: three girls fishing at a lake, a zombie chase scene, a woman in the bath. The other side shows Ioanna Paraskevopoulou in dialog with the images: using various material resources and/or her own body to devise, create, and produce a new soundtrack to accompany them, thus orchestrating the images aurally and bringing them to life.
Because “All She Likes Is Popping Bubble Wrap” is a sound and image performance, a diptych of parallel actions: a screen divided into two in order to amplify the sound and visual impressions made by selected extracts of archival film footage.
Seeking to create a kind of audio-visual choreography composed of micro-movements and objects, the artist explores the correlations between sound, image, and the body, as well as the potential to exchange information across two moving images screened in parallel. This process leads to a playful experiment: a designated dramaturgical act on the part of the performer enters into discourse with the archival material to nurture non-synchronous realities, pushing them into unique new perspectives and dimensions.
