Light the lights, Nico

Light the lights, Nico at Plan B gallery, Amsterdam

Camera: Alina Ozerova
Installation by Aam Solleveld and Daniëlle van Ark, the performance deals with the sonority of language in the singing act, extending the syllables and vowals in endless phrasings, to the point where the significance is altered or annulled. The sound-value of the text dictate it’s own logics, and words are joined or split according to the most efficient musical impact. The performance seeks to reflect a similar effect, as that of the rythmical elements of the installation, where the grid dissolves the boarders of the room- likewise the music creates a new pattern of logics departing from it’s textual anchorage.

Li-ghtni-ng-up theco-rne–rs

li-ghtni–n-g u-p theco-rne-r-s

i-t’s no-t tha-tti-ght a-ny-mo-re

ma-kes thero-omlo-ok

bro-ade-r

a-ndmo-rea-iri-s ru-nni-ng throu-ghsoa-
sou-r shou-lde–rs sli-ghtly me-et

sta-ti-cha-ir sti-cks to- the o–thersshi-rt

no-t vo-lunta- ri-lyto- be-gi-n wi-th

u-nti-lli-tundersta-n

dsho-w gre-a-ta co-i-nci– de-ncei-ti-s

thatwe- me-et, aga-in

andli-nes conge-gra-tesli-ke ve–insin ma-rble.

justa-sI- ha–di-t cle-ar

andwho- kno-w-sno-w

ifyou-we-re-e-ve-r

the-re

howgra-n dthi-sfe-elingo–fe- pi-pha-nypostpo-
ni-ngthe co-llisio-ntha-t wa-s ju-stabou–tto ha-ppen
bla-ckho-le wi-s tle-s

“gra-byou-r ne-edlea-nd spi–nthe thre-ad
spin
spin
spin”

Li-ah-ah-ah-ah-gthni-ih-ih-ng-u-oh-oh-oh-oh-oh-oh-p
the-eh-ih-ih-eh-co-oh-oh-oh-rne-eheh-eh-eh-rs

Li-ah-ah-ih-ghtni-ih-ih-ih-ng u-oh-oh-oh-oh-up the’co-
oh-oh-oh-oh-oh-oh-rne-eh-eh-arh-arhrs

i-ih-ih-ih-ih-t’s-no-oh-oh-oh-oh-t tha-ah-eh-eh-eh-t’ti-
ih-ih-ih-ght a-ah-ah-eh-eh-eh-eh-ny-ihih-ih-mo-oh-oh-oh-re

ma-eh-eh-eh-eh-ih-kes thr–eh-eh-eh’ro-uh-uh-uh-uh-om
loo-uh-uh-uh-k br-oh-oh-oh-ohoarde-r
a-eh-eh-eh-eh-nd’mo-oh-oh-oh-oh-re’a-eh-eh-eh-eh-ir’i-
ih-ih-ih-s ru-uh-uh-uh-nni-ih-ih-ih-ng

thro-oh-oh-oh-uh-gh so-oh-oh-oh’a-eh-eh-eh-s o-ah-ah-ah-
ur sho-oh-oh-oh-lde-eh-eh-rs

sli-ih-ih-ih-gtly-ih-ih me-ih-ih-ih-ih-et sta-eh-eh-eh-ti-ih-
ih-ih-c ha-eh-eh-eh-ir’is sti-ih-ih-ihks

to-uh-uh-uh the–ih-ih-ih o-oh-oh-oh-the-eh-rs’ sh-h-h-irt
no-oh-oh-oh-t vo-oh-oh-oh–lu-uh-uh-uh-ntari-ih-ih-ih-ih-
l-ih-ih-ly’to be-eh-eh-eh-eh-eh-eh-gin’ wi-ih-ih-ih-ih-th u-
oh-ohoh-uh-nti-ih-ih-ih-l’ i-ih-ih-ih-ih-t’u-uh-uh-uhnde-
eh-eh-eh-rr-ssta-ah-ah-nds ho-ah-ah-ah-w-uh

grea-eh-eh-eh-i-ih-t’a co-oh-oh-oh-ih-ih-inci-ih-de-eh-ehn-ce
i-ih-ih-ih-t’ih-ih-s tha-ah-t-weih-ih-ih-ih- me-ih-ih-ih-et aga-
eh-eh-eh-eh-in and’li-ih-ih-ih-nes co-oh-oh-oh-n-ge-eh-eh-
eheh-gra-ih-ih-ih-ih-te s’li-ih-ih-ih-ih-ke ve-eh-eh-eh-eh-eh-
ins’in ma-ah-ah-ah-rble. J-uh-uhuh-st’-a-ah-ah-ah-s’ I-ih-ih-
ih ha-eh-eh-eh-eh-eh-d’it cle-ih-ih-ih-ar and’who-oh-oh-oh-oh

kno-oh-oh-oh-oh-ws’no-ah-ah-ah-w if’you-uh-uh-uh-uh’-e-
eh-eh-eh-eh-ve-eh-eh-r-we-eh-eheh-re the-eh-eh-eh-eh-eh-re

Ho-oh-oh-oh-w gra-eh-eh-eh-n dthi-ih-ih-ihs’fee-ih-ih-ih-ih-
ling’of’e-eh-eh-eh-pi-ih-ih-ih-phaah-ah-ah-ny-ih-ih postpo-oh-
oh-oh-oh-oh-ni-ih-ih-ih-ih-ng’the co-oh-oh-oh-oh-oh-llisio-
ohoh-oh-oh-oh-n’tha-eh-eh-eh-t wa-ah-ah-ah-ah-s ju-oh-oh-
oh-oh-st’a-ah-ah-ah-bo-ah-ah-ahah-ut to-uh-uh-uh ha-eh-
eh-eh-eh-ppen

bla-eh-eh-eh-eh-eh-ck’ho-oh-oh-oh-oh-oh-le wi-ih-ih-
ih-stle-eh-eh-eh-eh-s

gra-eh-eh-eh-eh-eh-b’yo-oh-oh-oh-u-uh-uh-uh-r ne-ih-
ih-ih-ih-edle’a-eh-eh-eh-eh-eh-nd spiih-ih-ih-ih-n’the
thre-eh-eh-eh-eh-eh-eh-eh-eh-eh-ad

spi-ih-ih-ih-ih-ih-n

Francesca Burattelli