Picadero is a ritual. It celebrates and explores the individual and common origins of the performers and their disciplines. Picaderø reflects the painful acceptance of boundaries and the moments of fleeting freedom within them.
The ritual is shared with the audience in form of a transdisciplinary concert and includes several types of implementation. Body, sound and objects are connected through performance, soundinstallation and mutual manipulation. The collective explores the connection between contemporary circus, new experimental music and interactive sound design and constantly creates new similarities and contrasts.
The central installation object of Picaderø is a mobile stage that can be derived from the shape and movement of a spinning top which is in constant transformation and (de) construction.
Sound artists and performers can influence this basis, interact and communicate through it. It can function as a ludic artifact or act as a metaphor for emotional contexts.
Right from the start, the focus was set on an intense and absolute, open and risky communication between the various disciplines involved. Stage design should as well represent an active component as Movement and Sound (and eventually Light). This decision was based much more on deep friendship and the close connection of the team members than on a basic analytical understanding. Since then, this core intuition has formed the emotional core of the collective’s work. This is to be highlighted as a decisive strength and not to be interpreted as a sentimental weakness. The collective looks back on a family theory and thus creates fertile ground that is reserved for only a few creative entities, regardless of the area of Art.
The idea of an interactive-transdiciplinary communication quickly led to the idea of implementing a sound installation that could be used both, as a modulatable instrument and as a manipulable object. So an instrument would be created that could be played on with different “hands” at the same time and one could complement and exchange each other without hindering one’s free development within one’s own moment and the respective playing style, without getting in each other’s way, but instead to complement, to inspect and to complement.
Less than half a year later, the light and light installation was to be added to the already interactively connected elements and thus eventually represented the last additional element: An holistic open structure that should contain the options for supplementation and construction and should not be finished but would remain open for innovations and development.
A possibility to support height level and movement.
A tool to display and support speed.
A spinning top.