Seven synchronized screens re-envision Igor Stravinsky’s Le Sacre du Printemps (1913) with aged, nude bodies in stop-motion, cycling through life, death and rebirth while challenging ideals of youth and beauty.
Three central screens show the sacrificial victims—the inner circle of death—while four peripheral screens present the corps de ballet—the outer circle of life, echoing Vaslav Nijinsky’s 1913 choreography. In a perpetual loop the victim collapses, rises and dances again, as the corps stamps out the rite’s relentless rhythm. Aged, nude performers, their sexual traits subtly blurred, replace the usual young dancers, exposing our fixation on beauty and vitality. Shot in stop-motion, each stiff, arthritic gesture gains a fragile, puppet-like staccato that underscores bodily effort and transience. Merging sacrifice, decay and renewal, Kozyra mirrors Stravinsky’s score while confronting viewers with the material limits of the human body and the stereotypes that frame its representation.
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