Upon entering the French Pavilion at the 18th International Architecture Exhibition in Venice (until 26th November), you are confronted by a curved silver wall.
Is this some kind of lunar module, you wonder, or maybe some kind of futuristic dome à la Buckminster Fuller? Yet, as you turn around the corner, a revelation unfolds - the structure before you is not a dome or a complete sphere reminiscent maybe of Daniele Barbaro's geometric model of the sphere in perspective from his famous 1568 Renaissance treatise (View this photo), but a half-sphere covered in shimmering silver aluminum.
The interior is hollow and reveals a steel structure, tiered plywood seating, a silvered fabric curtain and a stage with a microphone. Above the whole structure hangs a triangular beam supporting a few projectors.
The lower part of the stage can be configured in different ways, with a low, circular, movable podium where the public can sit and have access to the middle of the stage. Welcome to the "Ball Theater" project.
Designed by architecture firm Muoto (Gilles Delalex and Yves Moreau), in partnership with Georgi Stanishev and Clémence La Sagna for the scenography, and associate curator Jos Auzende, the project presents a distinctive, original and inclusive approach to address the inquiries and difficulties posed by this year's Biennale.
A pavilion within the pavilion, the Ball Theater reflects the Biennale 2023 theme – "The Laboratory of the Future" – set by Lesley Lokko.
The theater inherently functions as a laboratory, exploring identities, spaces, and imaginative realms. It serves as a mechanism that empowers individuals to envision alternative realities and project themselves into different places and future possibilities.
Symbolizing the world with its meridians and parallels, the Ball Theater transcends its static nature and turns into a vibrant space for the dance and music performances and enlightening talks included in the engaging program curated by Anna Tardivel.
Rather than a mere structure to be admired, the Ball Theater emerges therefore as a dynamic entity, a place of meditation and a laboratory of ideas inviting visitors to take part in a multi-disciplinary experience.
This open space is also a reaction to the isolation caused by the Covid-19 pandemic: the virus pushed us all to withdraw into ourselves, but the architects and curators behind the project decided instead to give a festive and joyous twist to this year's proposal, inspiring visitors to get together in this immersive and experimental space.
Besides, the half-sphere structure could be interpreted as a mirror ball - kitsch, shiny and glamourous, hinting at discos and parties. You may therefore argue that the structure has a sort of duality about it: it is a sophisticated and elegant architectural construction, but it is also a club where fun events can take place.
Within the Ball Theater, dreams and aspirations materialize, while in the adjacent rooms of the pavilion there are other installations to explore.
Reclaimed metal structures with speakers emit repetitive sounds, voices, whispers, and echoes, acting as acoustic pathways for the visitors, and creating an immersive and abstract non-verbal ur-language.
Shaped by an Artificial Intelligence system, the sonic landscape, was created by the pavilion sound team, including electronic music composer Pilooski (Cédric Marszewski) and sound engineers Alain Français and Thomas Fourny.
Once a month for a week throughout the duration of the Biennale, the Ball Theater will turn into an animated arena of celebration, experiment, and discussion thanks to presentations by researchers, students, artists, and thinkers.
For the opening days in May, the Ball Theater was activated by an energetic event with representatives from the French ballroom scene including French voguing legend Vinii Revlon, founder of the House of Revlon, Mariana Benenge, choreographer and waacking dancer, and Missy NRC, Hip-Hop New Style dancer.
While they encouraged the public to follow in the dancers' footsteps and discussed the dual values of celebration and political protest in the ballroom scene, drag queens Tata Foxie and La Deliche, introduced themes such as cross-dressing, transformism and the passage from clandestinity to inclusive emancipation.
This event was also a way to go back in time and make a comparison between the balls in Harlem during the 1920s and 1930s, spaces of resistance, dance, and celebration for African-American and Latino LGBTQ+ communities, the balls of the 1970s and modern ones, spaces of emancipation, where individuals are liberated to express their true identities.
For this occasion, the metal structures in the adjacent rooms were used as hangers for evening dresses and wigs.
A large table was also set up in one of the rooms, displaying a collection of items - makeup, accessories, wigs, and shoes.
These artifacts beckoned visitors to embark on a contemplative journey, reflect upon the intricate process of constructing an identity and consider the profound impact of altering gender roles.
The transformative power encapsulated within each of these objects sparked a journey of self-discovery for the visitors, challenging societal norms and encouraging them to embrace the boundless possibilities of personal reinvention inside and outside the Ball Theater.
During the inaugural session of debates and events, the Ball Theater intertwined therefore two captivating realms of human imagination - utopia and the vibrant essence of a party.
But there will be more to discover in the next few months, with dance and singing performances, a radio and a costume workshop of architectural, mechanized and sci-fi costumes (this particular workshop will take place in November, right before the end of the Biennale, but you can check the complete program here).
During the months of the Biennale, the Institut Français, organizer of the French pavilion, will also expand the Ball Theater project launching events connected to it in other countries.
Last but not least, the Ball Theater stands not only as a visually captivating architectural structure but also as a testament to sustainability. The wood and steel half-sphere, boasts a lightweight and modular design and the structure, produced locally, breaks down into small parts (21 meridians and 13 parallels for a total of 300 bolted segments) that are easily assembled and disassembled.
Besides, all the objects inside the theater and the three adjacent rooms are bric-a-brac found in Italy and restored in situ.
Embodying the goals of the Paris Agreement, the collapsible structure of the Ball Theater can therefore be easily transported to new destinations.
This mobility grants the theater the flexibility to bring its captivating performances, engaging discussions, and immersive experiences to other countries and communities, creating a nurturing space where imagination can flourish.
Image credits for this post
1. Ball Theater © Spassky Fischer courtesy of the French Pavilion
2-10. and 18-25. Photographs by Anna Battista
11-17. Photographs © Jacopo La Forgia, courtesy of the French Pavilion
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