The big installation in the naked stage shows the word JOY in big and sparkly characters, a sculpture made by Bert Neumann to whom the performance is also dedicated. The fact that the artist plays with it, making it move and shine and staring at it. In a sort of contemplation, it makes one think how the concept itself is extremely complex. Its inner reason tends to be part of vitality and natural cheerfulness but it brings one to wonder about the whole idea of it. In many cases forgotten, incapable to remember or to reach.
Ironic and incongruous gestures, goofy and short movements, poses are added to sarcastic and self-sardonic phrases, and gibberish sounds leaving the spectators disconcerted and entertained at the same time. He moves constantly, agitated, unsettled, clumsy, searching for a different position and appearing not really sure about the next moves.
The bewilderment is caused by the unpredictability of the artist; sometimes he laughs within himself, some others seems close to crying, other tired and bored on stage trying new steps and then, starting to run with all his force, he starts shouting towards the audience asking to be joined in the compulsive run on stage.
Hilarious and intriguing, amusing but also enigmatic and cogitative, is an honest and intimate piece that allows one to feel and reflect on established patterns and the given expectations.
Engaging with the performer, a sort of empathetic and nonsensical journey happens to stimulate reflections on the given suggestion. Returning to the basics and abandoning any kind of criticism, denouncing and affirming.
Hilarious, emotional, disconcerting, intimate, ‘Hello useless-for W and friends’ is an engaging piece to reflect on nuances and significances of structures and deconstructions, profundity and superficiality, authenticity and dubiety.