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The Perfect Garden

The Perfect Garden: Installation

Hof Dietrichsruh
in Salzburg‘s historical old town for Sommerszene (July 2012)

The Perfect Garden is a collaboration between the performance group Liquid Loft (AT) and the visual artist Michel Blazy (FR). Inspired by powerful imagery such as The Garden of Earthly Delights by Hieronymus Bosch, the garden is used as metaphor for proliferation and imaginativeness, but is also for the risks of nature and its uncontrollable sensuality. Variations and metamorphoses, forms and patterns come to act implicitly, just the way they are demanded of human nature, - or can be observed there.

The Perfect Garden is a continuous process and research into the organic reciprocity between object installation, live performance and sound. For different Site-Specific Creations, Michel Blazy and Liquid Loft transform various locations into temporary biotopes, according to location, its architectural and other characteristics. Out of „organic“ materials such as lentils sprouts, glue, cotton, bathing foam, spaghetti flowers, agar-agar...Blazy's Second-Hand Paradises emerge and absurd characters arise out of them. Likewise, the soundscapes by Andreas Berger reflect the sounds of the growing visual materials, the dancers and the environment.
 
Paris-based Michel Blazy pays attention to the small, unimposing things of daily life. With materials from building supply stores, agriculture stores and supermarkets, he develops micro-cosmical models, utopian scenarios like a Jules Vernes of the arts. His working methods reflect his motto ‘becoming and decaying’ and his interest in circles, cycles and time.


The sound environment by Andreas Berger is a constitutive part of Liquid Loft’s work; the performers’ physical sound field is constantly altered and transformed. Every stage-production, from the very moment of its conception, goes hand in hand with the creation of acoustic settings.

The Perfect Garden experiments with with movement and organic growth. The set by Michel Blazy follows this logic of growth. Along the way, we meet absurd, but vivid characters on stage. As abstract as these creatures may appear, they relentlessly carve their way through time and space. The things growing and thriving here metaphorically remind of economics. Like the way the economics of sensitivities climbs and grows into the bodies, and through the bodies. And there is no stopping the comfort as it starts nesting in these bodies, feeding on them and digesting them. The dancers follow this process of digesting possible identities, as do the soundscapes provided by Andreas Berger. These sounds never hesitate to incorporate a wide spectrum of compositional figures and processes as well as electronic particles and noises which play the field of associations and oscillate between a machinery of sensitivities, primal screams and soundscapes from everyday ambiances.