Wayne McGregor: the relationship between mind and body explored in the discipline of dance

From French philosopher Descartes mind and body’s dualism to mirror neuronal connections, latest findings support the idea of a complex interaction among the spiritual and physical part of the self

Thursday 29 September 2013 – Sunday 27 October 2013 

WellCome Collection – Euston London

http://www.wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body.aspx

What happens in the mind of a dancer when he/she ‘marks’ the space with his body? What is the shape of the biology behind the artistic movement of the choreography? The free exhibition, currently displayed at the Euston WellCome Collection in London, tries to reply to those questions by setting up a connection between two different fields such as the science and the artistic creation.

Artistic and scientific domains are strictly linked together and the history of science, art and nature are plenty of examples of this fecund intersection. From Leonardo Da Vinci Vitruvian Man to Galileo Galilei interpretation of the Nature in terms of maths or Fibonacci sequences there is a lot of  maths in nature and beauty in science as well. Taking these intersections among those fields as possibilities of developing new findings is the starting point of the entire exhibition.

The exhibition has been thought to develop interactivity with the visitor and make him/her experience the same experiments of connection between body and mind of those dancers, subjects of the scientific study. The visitor will have the possibility to experiment a journey into the labyrints of minds, with interactivity rooms. Furthermore there are also sound boxes, in which you can relax, concentrate on the sounds and then report on a booknote the sensation you have developed during this experience.

Over the past two decades, the British choreographer McGregor has been developing different projects looking for new tools to support the creative process in the rehearsal studio and explore the possibility of using cognitive and social science to develop a wider and more comprehensive understanding of choreographic practice and thinking.

The last room of the exhibition explores the synesthetic experience, in other words the result of the intersections among five senses. Try, for instance, the Sound Room, in which you will be asked to ‘See This Sound’, an experiment firstly developed by the German Art School of Bauhaus in the late 20’s.

Definitely not to be missed.

Giuliana Patrone

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