Bussanich MARCHE INFINIE
This italian artist's video installations explore how the body senses movement, space and time. In the work on view here, Marche infinie, 2002, Bussanich borrows the final verses recited at a Navajo ritual healing cerimony. A woman's gait, aiming her stemps in a natural, even way towards the infinite and reciting these verses in different languages, undoubtedly calls for a meeting with what remains of myth and magic in our contemporary existence.
Marta Gili. In several of your videos you show rituals, gestures that are repeated to a certain rhythm. Could you talk about that a little?
Antonella Bussanich. I'm not partial to one ritual more than another, I'm drawn by the profound meaning of the word ritual, or better still, by the ritual gesture in general. Cerimonies are often fairly complex, last a long time and awaken all of our senses through chant, dance, paintings, recitation and sacred objets. People are looking to attain a state of harmony with the universal cycle, the timeless rythm. People are looking for a possible way to reach space-time.
MG. What is your relationship with music?
AB. Music moves me. I don't know its language, but I understand it in my way, through my body. Sound is invisible energy that sets off a wave that disturbs a large space. As something immaterial, music spreads more freely and passes through matter and the body. I let its waves pass through me and I listen to its interferences. For quite some time I've been exploring that strange relationship between the visible and the invisible, gesture and spoken language, thanks to years of working with the poet and composer Antony Hequet.
Jeu de Paume director