The constant movement of the performers around the space means at times we are forced to follow in order to see and at other times forced to manoeuvre ourselves to avoid colliding with them. The barrier between “stage” and audience is dissolved in a way that’s both thrilling and uncomfortable. It’s for this reason Collezione Maramotti, who have been collaborating with dance and theatre companies since 2009, seek out choreographers who have a “great sensitivity for visual art.” Papaioannou is the embodiment of this: he trained in fine arts, first attracting critical attention as an illustrator and comic book artist before becoming a renowned choreographer and stage director. Here, says Piccinini, visual art and dance which may seem like two different languages “enter into a relationship”.
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“Many of the previous dancers chose the big room with Claudio Parmiggiani 's because is very suggestive, suspended in the air above your head, but Dimitris is the first to concentrate everything in this open space on the second floor.”Įven the smallest sense of incongruence that might be felt watching a performance piece in this art gallery is obliterated by the harmony between the work’s theme and the building’s history as a place of manual labour. According to Sara Piccinini, Collezione Maramotti’s senior coordinator, Papaioannou is the only commissioned artist to have chosen this particular space alone to exhibit his work. The action took place amongst the works of artists like Mark Manders, covered in polythene sheets, which temporarily transformed the space back into the factory floor it once was. Dimitris Papaioannou's Sisyphus / Trans / Form, performed from 24th to 27th October at Collezione Maramotti, may not have had the powerful empathetic force it did were there any sense his characters weren’t hapless individuals on the verge of breaking under their burden.įor it’s an especially visceral presentation of Sisyphus’ labour that Papaioannou stages in the old Max Mara building that now holds the Collezione Maramotti. Less attention is paid to the unscrupulous figure of King Sisyphus himself, perhaps because it would be harder to pity him, harder to see the myth as a metaphor for life's inherent absurdity, as Camus saw it. In our collective imagination, the focus of the myth of Sisyphus is his endless task of rolling a large rock to the top of a mountain only to have it roll back down every time.
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