THE SUBSTANCE OF LIGHT
The work of Fabrizio Crisafulli and the Performance Design students for Roskilde's Lysfest
by Bjørn Laursen
Introduction
In the years 2013-2017 – except for 2014 – the Italian artist and Dr. H. C. Fabrizio Crisafulli curated the artistic section of Lysfest, the annual light festival in Roskilde, and, whitin this event, he led the Performance Design students from Roskilde University in creating their performances and installations in the city.
in the years 2015 and 2016, Crisafulli also made his own installations: Indramninger, which involved the magnificent Baroque tombs of Christian V, Frederick IV and their consorts, and that of Duke Christopher, in the central nave of the Domkirke (2015); and Impulse (2016) at the waste-to-energy plant Energitårnet (Energy Tower) in Roskilde, a new, futuristic building with a peculiar two-layered façade, the outer layer consiststing of aluminium plates with circular openings, designed by the Dutch architetc Erick Van Egeraat and inaugurated on 2014.
Every year Crisafulli and his students (up to 150, divided into working groups), organised their interventions as a “journey” along the ancient centre of Roskilde, which always included the Kulturstrøget (“Road of Culture”), the Domkirke, the City House, the underground ruins of the Romanesque St. Laurentii church, the Museum of Contemporary Art, the Medieval Monastery, the Public Library and other locations. All the works were linked to the historical identity of the city, and at the same time offered new visions.
The event, consisting largely of outdoor work, was always held in October-November, when in Denmark, in the evening hours, there is an actual darkness.
The Lysfest artistic section has been conceived by Crisafulli in conjunction with Marie Berthelsen (Culture Office, Roskilde Municipality) and Bjørn Laursen (School of Performance Design, Roskilde University), and has benefited from the artistic and technical collaboration of Gregers Kierkegaard (multimedia artist, University of Roskilde) in the 2013 edition, and by Schack Lindemann (FabLab, University of Roskilde) in the subsequent editions.
Theory, Artistic Process and Pedagogics
These events made bring forward the ecological approach to the visual perception by James J. Gibson and to the phenomenological approach by Maurice Merleau-Ponty concerning the man-space relations. Crisafulli guided the participants in the process of understanding the "spirit" of the places, following, in creative procedures, his particular pedagogical and operational methodology linked to that kind of work ha calls “theatre of places” (Crisafulli, 2015; Nerbano: 2020). The result was deeply appreciated by the thousands spectators who attended the Lysfest.
The Italian artist articulated the whole artistic and pedagogical process essentially on the cognitive, physical, emotional and dramaturgical levels. And these are the performing aspects worth to consider.
James Gibson´s theory about ecological perception with his point of departure that our body always will be in surroundings: “One sees the environment not with the eyes but with the-eyes-in-the-head-on-the-body-resting-on-the-ground” (Gibson 1986: 205). That is what you can call a clear cut “grounded” perception where even his orthography in its unusual combining form indirectly helps you to feel your own body as one entity sensing the environment. Right before this statement he puts forward following over all determination of vision: “Vision is a whole perceptual system, not a channel of sense” (Gibson 1966b: 205). Gibson also builds out this individual bodily point of view to a much bigger general historic perspective addressing patterns of perception nowadays, pointing at specific spatial surrounding structures in our culture: “We live boxed-up lives. Our ancestors were always looking around. They surveyed the environment, for they needed to know where and what there was in all directions. Children pay attention to their surroundings when they are allowed to do so. Animals must do so. But we adults spend most of our time looking at instead of looking around” (Gibson 1986: 203). Now every man has a body all the lifetime (Laursen 2003: 75), so we are “anchored” in the body as French phenomenologist Maurice Merleau-Ponty has expressed it: “To understand is to experience the harmony between what we aim at and what is given, between the intention and the performance – and the body is our anchorage in the world” (Merleau-Ponty 1962: 144). This attitude is absolutely permanent and surrounding: “We must therefore avoid saying that our body is in space, or in time. It inhabits space and time” (Merleau-Ponty 1962b: 144). It appears to be an unbreakable phenomenon that is of basic existential relevance to him: “I am not in space and time, nor do I conceive space and time; I belong to them, my body combines with them and includes them. The scope of this inclusion is the measure of that of my existence” (Merleau-Ponty 1962: 140). And he gives a – nearly Shakespearean – answer to the question of what we are made out of: “…our body is not primarily in space: it is of it” (Merleau-Ponty 1962: 148). Therefore he can sort of conclude: “It is a space measured from me as point zero of the spatiality. I do not see the space from outside as an outer shell, but I experience it from inside, being surrounded by it. All in this world is not in front of me, but around me” (Merleau-Ponty 1970 : 41).
So how are both these theoretical and concrete points of experiencing the surrounding world brought into interaction simultaneously. We follow a final claim by Gibson: “The evidence suggests that visual awareness is in fact panoramic and does in fact persist during long acts of locomotion” (Gibson 1986: p. 2). Gibson´s important keywords are here: awareness, panoramic and locomotion.
The point of departure was relatively clear: to create in surrounding darkness. And, of course, rehearsing should (also) be after the daylight had disappeared.
If people cannot see because of some absence of light you will have to force them as an audience to use their senses in a more energetic way. Turning out the cities street lights were a strong, very unusual possibility that Crisafulli and his students invented, strongly supported by Marie Berthelsen, the municipality´s cultural adviser in Roskilde. Therefore the central city-area was dark mainly lit by living lights – by torches.
According to Gibson and Merleau-Ponty the air is a medium. Working in darkness you have a good chance to choose where in space and how to make people attentive, especially if you think of the surroundings as a 360 degree surrounding and not just a “traditional” scenographer´s much smaller “scene”. The audience should feel the surrounding “cityshape” as panoramic and attractive to move through with all their senses sharpened.
Two different conceptions of understanding and using light
In more traditional theatrical environments, and in everyday life in particular, light is considered as means of showing things – enlightening them – so they can have a special focal attention for spectators. We use lamps – spots – to enhance spatial presentations of elements. That is common sense knowledge in well-established common habits. But light is also something different in itself – something in its own right, a phenomenon that is an artistically developed core parameter in the work of Crisafulli. In the following you will meet both of these conceptions in the installations, the traditional and the “crisafullian”, created at five different surroundings, showing different types of light settings. And in combination with this you will also meet Crisafulli´s understanding of the inanimate: “My normal understanding of the inanimate, as a live dimension with its own adventures, where objects retains memory and energy from the actions that created and involved them, plays an important role in this”(Crisafulli 2014 : 204-205).
Down under the pavement of the main pedestrian precinct in the old core of Roskilde city, you find the ruins of an early church, buried in dirt and rubbish from several centuries, but now excavated, so you can go beneath the general above level for pedestrians and experience vital ruins of this old church, including a beautiful – and especially well preserved sun-shaped floor of bricks from 11th century. In the students light setting of this particular and unique room of ruins – however – you would experience something quite different.
Crisafulli has developed a specific use of overhead projectors to create light settings.
Using the projector you start drawing with black ink on transparent folio where you might want a light beam to appear in the final production. And having produced a drawing the entire network of light beams, you transfer this drawn pattern to a beforehand black painted square plate of glass of the very same size as the square of the projector, so only light beams can pass through the glass where the paint has been removed in the transfer process (fig. ). Using light the way shown here is a kind of double artistic fertile contribution: light gives something to the surroundings where it is performing and the surroundings simultaneously gives something to the light, so these different phenomena enriches each other significantly. So what we experience here is a complex exchange between space, motif, media, place and light.
An ongoing tension is created here in our consciousness, where light sort of becomes place, and place sort of becomes light. These visual experiences fascinated the students so much, that they were deeply hooked on creating artistic phenomena this way, and later it also fascinated the audience significantly. It was a kind of double contribution and even more than that.
What took place there was what another follower of James Gibson, Tim Ingold, refers to as a very intense process of making: “To know things you have to grow into them, and let them grow in you, so that they become a part of who you are” (Ingold 2013: 1). Tim Ingold gives an example from the coast of Scotland where he and his students were making baskets kneeling in the sand, working for hours being influenced by wind and rain, all of it influencing the shape of the result (Ingold 2013: 23). Crisafulli and his students – drawing with bowed bodies placed in the narrow landscape to capture the lines of the highly complex and irregular shapes of the many different phenomena inside the ruin – were completing a long and hard job of examination,
When I asked the students – and also the audience involved there – about their understanding of what light art is and how it is created, we met wide spread pre-understandings of the kind, that here we are in a field of technically “avant-garde” work, complicated to execute, involving a lot of skilled technicians. Crisafulli´s work with overhead projectors visually and aesthetically is absolutely “avant-garde”, but the technique involved is paradoxically quite simple, whereas the results are highly complex and of astonishing beauty.
So pedagogically Crisafulli´s strategy surprised the students deeply, because their pre-understandings were severely provoked, working with relatively simple technical equipment and painting. But this left time to wonder about aesthetic possibilities and study as well the surroundings as the possibilities of visually influencing them. This wondering was creatively a very important level and platform in the creative development of the visual experiments that led to seducing results in the surrounding space (Laursen 2001: 184).
Different functions of senses were mixed here in the light setting in St. Laurentii ruin, when at least two different sensorial modalities were active simultaneously: the visual sense and the tactile. The visual sense is obvious, but what about the tactile? How is that involved?
To find a good answer, it´s useful for a moment to study blind peoples drawing. Blind born people live in (total or close to total) darkness. That is one of the reasons why they have to activate their tactile system to detect what they are surrounded by. If you have to detect a thing using your tactile capacities, being blind or blindfolded, you would seek for and feel the edges on the phenomenon to detect the shape, and thereby determine the “identity” of it. And if you would draw it, you would probably choose an outline drawing to “mime” or represent the shape of the edges. Pointed out by Canadian professor of psychology, John Miller Kennedy, University of Toronto, there are very few lines in the world we are usually surrounded by, but an enormous lot of edges. They are the ones blind people (and sighted people also) feel and draw, when they make a raised line drawing (if blind, an outline if sighted).
In his vital book “Drawing and the Blind – Pictures to Touch” (Kennedy 1991), Kennedy shows how the tactile sense takes over many of the functions of the visual. And it is not just blind people, who do feel edges around them. We all do – But blind people are more conscious about it for obvious reasons. Everybody do feel edges since they were born – even bringing some of them into their little mouth, also to taste them and use their tongue as a multisensory detector of temperature, shape, surface and taste. So in that perspective it is no wonder that we are so good at feeling edges. We have trained a lot without being particular aware of it. Most often we just do not notice it on a conscious level.
We – as sighted people – are actually equilibrists detecting edges without knowing (Laursen 2007: 35). And that is probably what mentally is going on when we detect the scenario of the ruin: Crisafulli lets us here “feel with the eyes”. So there are several layers involved activated when we interpret using our bodies in this aesthetic visual and tactile beautiful seduction.
A line is not just a line
A line is often understood as a straight line. The Austrian artist Friedensreich Hundertwasser (1928-2000) claimed, that we live in the tyranny of the straight line, so there is actually an overwhelming background for the existence of that point of view. But a line can just as well be understood as a curve. And a curve can be as well elastic or loose. A line can signal perspective being thick and thin and thereby also suggest speed. It can be a fractal, amorphous, autonomous or part of a hatching, crossing! The way a line can behave and look is as well in principle as concretely endless (Laursen 1998: 16). Therefore we are not always locked up in a position interpreting a line as an edge. Visually we have several possibilities, a phenomenon that characterizes the abstract, curved lines in the artwork in Frederic V Chapel. This installation was situated inside the famous Cathedral of Roskilde – a member of the UNESCO list of World Cultural Heritage. In this Cathedral most of the Danish Kings and Queens are buried, so you can also sort of follow an art history travel visiting this church if you look at the styles of the many different chapels built out from the middle ship. The production of the lines on the walls here are technically done the very same as the ones used in St. Laurentii using an overhead projector to expose the result, but the type of lines are very different, here symbolizing abstract distinctly curved movements free of any edges in this very high and very white impressive sacral room. The idea here is to let the dynamic potential of the lines create a sort of visual symphony spatially, a dynamic appearance that interact with the other media used in this installation. In front of the installation two video recordings of waves in the ocean were shown on both sides of this multimedia followed by vague sounds of waves.
One of Crisafulli's patiently repeated, very important questions to students would often sound like: “Notice deeply where you are! What is the potential of this surrounding space – in your imagination? Could something of special interest be made here? And if: What?” The interpretation is – according to Crisafulli – not something you bring to it, but instead something you might find and/or develop, when you are there and just exactly there, not anywhere else: The interpretation of a site is born in the specific site. So the abstract lines seem to be born in the chapel itself surrounded by watery associations. Following a working method similar to that indicated by Tim Ingold (Ingold 2013), the embryological process has been executed on location, not as a decoration you bring to it.
A model of the creative process
At least three layers – I call them three dynamic worlds or interactive theatres – are activated during these artistic developments. Let me name them Scene I – II – III. (Laursen 1990 : 2) The following description will illustrate using these three scenes in following way:
Scene I: is the empirical total theatre we live in, where we can move round and watch specific sites of special interest among other concrete phenomena; it is dynamic, it undergoes a lot of simultaneous changes, so we study it in our everyday life to be relatively familiar with it, also noticing changes in our surrounding world.
Scene II: is the representation of this surrounding world in our mind; things around us exist showing different appearance, and we register them so we can recognize them; things change and we register changes so we can recognize the changed world, the interactive theatre, where we also can create changes interactively, living in it.
Scene III: Crisafulli created changes of the empirical surrounding world of the students by letting a surrounding space change from a well-known-daylight-space to a dark-un-known-beautiful-light-beam-lit-space which made an enormous and impressive difference in the students minds at scene II, so much that they could use this scene III impression imaginatively to turn back to Roskilde’s scene I and study it site specific locally, finding places like St. Laurentii and Frederic V Chapel, the City Hall Tower and front of its building, and The Monastery.
It is this combined complex process of using their imagination to “negotiate” with the surroundings that the students went through during their pedagogical experimental, dynamic and productive interaction with Crisafulli and the whole surrounding city-shape.
An interesting and interested city
We live in cultures where there is so much light produced, that we have to place observatories – phenomena earlier inside the border of the cities – now in the high mountains in for example South America, because so much artificial light is shining, that we cannot see outer space properly unless we go to very far away destinations.
In a minor scale that is why Roskilde local government agreed with turning off the lamps and replace traffic that particular nights, so that we could clearly see the lights in all their beauty, a relevant phenomenon that reminded you about the long gone middle ages.
The top of the tower in the Old City Hall was seen several kilometers away because of the turned off lighting. And the top of the tower – showing a part of a circular sun was a fine contribution to catching attention – because as one of the findings in gestalt psychology tells us: if we see a part of a circle, the eye will do the “rest” of telling us. That it is a part of a round closed form we experience. On this tower you could see a series of symbolic and emblematic looking visualizations from different historical periods, all of them signalizing aspects of local Roskilde identity .
In the Lysfest 2013, in the garden of the Black Brother´s Monastery you could experience five traditional spots enlightening from beneath one of the oldest leaf trees in Denmark in a view that might remind you of Rembrandts experimental landscape paintings.
The same choice to darken the town center of Roskilde was made in the following editions of Lysfest, which saw the enthusiastic participation of 25-30 thousand spectators on average. In them Crisafulli has adopted and further developed the poetic principles of the first edition and involved further sites such as the Museum of Contemporary Art, an underground concrete bunker dating back to the last war, the Klosterparken, the Roskilde Gymnasium, the Abasalon arch, Latinerhaven and others.
Impulse
In the 2016 Lysfest edition, while working with students in the centre of Roskilde, Crisafulli created his large installation at the Energy Tower (Clark: 2016). To achieve it, he worked according to his "active light" poetics (Crisafulli, 2008, 2014, 2016). I propose to compare it with the Self-portrait of Saint Paul by Rembrandt (1661) at the Rijksmuseum in Amsterdam (fig. ). The two works seem very distant from each other. But, in some respects, they are not at all. In Rembrandt's painting the image is mostly dark. Only a part of the face and the headgear are illuminated by a side light, which also affects a corner of the book that the subject holds in his hand. The darkness, which is the dominant dimension in this work, does not only concern the background, but, to varying degrees, also the face and the book. Rembrandt was a master in using light as a substance in painting. This aspect of his art has occupied him since the beginning of his work. In the 1629 youth self-portrait from the Alte Pinakothek in Munich (fig. ), only the lower part of the face is illuminated, while the upper part remains in the shade. Surprisingly, this seems to immerse the subject in a reflective sphere of thought. In both cases the light comes from the left and illuminates the nose. The American psychologist Howard Gardner, known for his theory of multiple intelligences, in front of this work could perhaps associate the two dimensions that the painting represents to the two spheres of the mind that he identified in his studies (Gardner 1944): what he calls interpersonal or social intelligence and what instead defines intrapersonal or private intelligence; and it would link the first, the social dimension, to what is recalled from the lower, clearly visible part of the face; and the second, the private dimension, to what is recalled by the high one, left in the shade. While not naturally using the same terminology as Gardner, Rembrandt even as a young man was very aware of these two dimensions of the mind, and gave them shape through light. This has a correspondence with the fact that, like everyone in his time, in the dark hours of the day he experienced the light, given by oil lamps, candles, torches, or by the fireplaces, as something that concerns limited areas of the environment around us. Rembrandt worked on the comparison between the two dimensions of light and dark both in the interiors, to which he often gave a strongly "theatrical" dimension (see the 1631 painting The presentation of Jesus in the temple, located in Mauritshuis in The Hague (fig. ), in which the group of characters in the centre of the scene is highlighted by a real "spot" of light, while the rest of the environment remains in the shadows). See the engraving in fig. , in which atmospheric events are dramatically represented through the contrasts of light and shadow. Even in landscapes, as in interior paintings, Rembrandt tended to give birth to an active character.
In a 1990 short novel, contained in Rejsen til Ribe (Journey to Ribe) collection, the Danish writer Peter Seeberg writes of a farmer who, to "protect" the dark and continue to perceive his being part of the universe at night, refused to have the electric light installed on his farm.
The artist was born in Catania, on the slopes of Etna, where he lived for up to 17 years. The vision of the lava flows and nocturnal explosions of the volcano, when he lived there, was, as he has occasionally said, one of the elements that probably influenced his idea of light as matter and as substance. As an element with its own autonomous strength and not only a functional tool for vision. In some of his installations, such as the one built in 1998 at the Roman bridge in Parma, there is an evident use of "energy" type light, easily associated with the idea of lava. The lines of light follow the lines of architecture, redesigning their vision as well (fig. ). This is an operating mode that the artist often follows, for which he sometimes uses, as I mentioned before, low-tech tools, but used in a very peculiar and innovative way, such as overhead projectors
Crisafulli has a great experience in the field of lighting design, both theoretically and operationally. He followed very closely the Italian theatrical research of the 70s, in particular the so-called "Roman school", the work of the director Giuliano Vasilicò and that of the scenographer Goffredo Bonanni, for whom light was very important. He continued and continues this research with his company. He has conducted workshops focused on this theme for over thirty years as part of his teachings in the Italian Academies of Fine Arts (Catania, Urbino, L'Aquila, Florence, Rome), and in many other places in the world, and he did, 2013 to 2017, at Roskilde University, which in 2015 awarded him an honorary degree for his research. Light is central to his theatrical and installation work, where it is a linguistic and poetic element used with great measure and delicacy, in relation to actions, sounds, spaces and places.
Impulse shows it once again. The Energy Tower is a radical and innovative waste-to-energy structure, designed by the Dutch architect Erick van Egeraat, with a lighting system designed by Gunven Hansen, located along the high road that connects Roskilde with Copenhagen. The building, over 100 meters high and 150 wide, visible from kilometers away in a flat area, is today an important symbolic presence in the territory, in dialectic with the other historical presence represented by the Domkirke, the cathedral of Roskilde, from which it is about 3 kilometers away. The Domkirke, the largest religious building in Denmark, has been also the site of many installations by Crisafulli and the students participating in his workshops in all editions of the Lysfest.
At the Energy Tower, the artist created a composition of moving colored lights (figs.), conceived as a large-scale signal of the fact that something was happening in the city: the interventions of light created by the students. The installation was the result of the combination of light with the architectural structure, the constellation of its circular openings, the steam emissions from the chimney. The images were linked in their movements in a "musical" way, with successions of "largo" and "fugues", of crescendo and diminuendo. Crisafulli has used over 200 LED sources, regulated by a computerised system, on the basis of a previously elaborated, very precise score (see, in figs. 16 and 17, the scheme of the succession of lights, in his own hand). The dimensions of the intervention allowed to appreciate the temporal variations, the pulsations, the rhythms even from very far away (at a certain moment, for example, masses of light and shadows covered the entire 150 meters in 3 seconds, with an amazing visual and dynamic effect), and at close range it was possible to perceive an infinity of nuances in the comparison between the illuminated and the dark parts, in their movements and in their successions. It is these characters that, together with the cultural awareness and the sophisticated attention to detail that Crisafulli puts into his work, which, despite the abstract, dynamic and technologically advanced forms of his work, brought forward of Rembrandt and the great painting of the past.
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