Given the current social, political and religious context, Superamas believes that Mozart's music is no longer the music of Mozart, but simply an artefact submitted to the pressure of the necessary conditions for its contemporary representations. Put in a different way, we can say that Superamas works on recontextualising the music of Mozart in the frame of its present consumption, far from its original musical and creative value. This choreographic sculpture, created for the Year of Mozart, 2006 in Vienna, will also evoke a few key historical moments that we all still have in mind for sure, such as armed conflicts, political crises and other global disruptions.
This piece stands for a meeting between music and the present time, history and current national representations, technology and choreography. Mozart and what is no longer Mozart, dance and what is no longer dance.
At a first sight, just another very sense-appealing, highly charming tribute to Mozart that has kept its promise. The trouble is that it not only lifts you very high, it also moves you quite a lot to the sides across borderlines (a little bit like aerobics, but leading to slightly different results). For some reason, it definitely leads you to stroll around some historical and most current negotiations: highly strange co-attractions, highly strange co-mobilisations, and highly strange alliances between visual arts, music, dance, and socio-political power agencies. Overlapping officially separated representation modes, High Art subtly exposes an (affect-based) inter-quoting traffic that makes you meet visual arts engaging with flag-waving official ceremonies, choreographic performances engaging with inter-national rhetoric, cultural celebrations engaging with operatic aerobics, classical music engaging with cinematic politics, and socio-political affairs engaging with them all.
-Paula Caspao, Get High / on aerobic politics and other highly cinematic genres, (excerpt)-
