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Borobudur
A Palerme, circulant à scooter, un jeune homme s’intéresse à l’architecture moderne. Au fil de ses promenades, plusieurs rencontres successives l’amènent à se mouvoir différemment dans la ville, à la recherche d’un dialogue constant avec le bâti.
Within this amorous territory emerging halfway between documentary and fiction, Arnold Pasquier embraces the intimacy of an unpreceded relationship between dance, urban space and architecture.
In Borobudur, the city is approached in abstract fashion through a physical apprehension of the spaces and lines defining it. By wandering through Palermo, Federico elaborates a series of gestures that interact with the architectural components: verticality and horizontality, straight lines or bends, depth and perspective. Inversely, he is addressed in highly concrete terms first by a teacher and then by a group of architects and city planners from the association Salvare Palermo, who unfold before him a map pointing out the places that he still absolutely has to discover. Ultimately, the city reveals itself such as Federico dreams it during his day and night-time wanderings: with the features of an Indian lover; to the rhythm of the musics of one of Pina Bausch’s key works (Palermo Palermo); or yet again in the suspended time of a dance workshop directed by Damiano Ottavio Bigi, the collaborator of the late German choreographer.
