Clamor

Clamor is a performative and essayistic/installative project that emerges from the intersection between manual bell ringing and vertical rope, placing bell art in dialogue with contemporary artistic practices such as aerial acrobatics, movement, and experimental percussion. The project proposes a device for both physical and mechanical exploration inspired by systems of ropes, pulleys, and traction forces found in bell towers — a space where body, sound, and object mutually influence one another, in a continuous tension between gravity and suspension, impact and reverberation.

Clamor does not seek to transcend the weight of the bell, but to inhabit it. Each attempt to move or strike it is a negotiation between body and structure. The cenical device — heavy, metallic, inflexible — confronts the organic vulnerability of the body that activates it, establishing a field of constant imbalance. It is within this unequal and asymmetrical regime of counterweight, impulse, and surrender that the performance is built, transforming effort and resistance into sound, rhythm, and presence.

The project also questions existing conceptions of what constitutes a circus apparatus and challenges the conventional hierarchical relationship of mastery/domination between apparatus and performer. When this hierarchy is suspended — when the body ceases to fully control the apparatus and the apparatus ceases to simply serve the body — new forms of interaction, negotiation, and listening emerge. In this space of interdependence, relations of care, confrontation, and presence are produced, redefining the possibilities of the performative gesture as an act of coexistence with external forces.

By introducing the presence of a female, queer, and non-believing body at the center of this dialogue, Clamor shifts historical hierarchies without resorting to direct confrontation. The performance proposes an aesthetic and formal reconfiguration and establishes another kind of authority — more unsettling, insurgent, provocative; more ambiguous and tactile.

Clamor presents itself as an exercise in imbalance: between the human and the mechanical, sound and silence, weight and suspension, effort and abandonment.

Conceived for public or non-conventional spaces, the project challenges ideas of access, authority, and sacrality, activating a dialogue between body, sound, and architecture. The performance proposes a form of prolonged attention: the audience is invited to stay close, to move freely within the space, to experiment with their own point of view — in a play where observation can also become participation.