Idiot-Syncrasy, Igor & Moreno. Photo © Alicia Clarke


Igor & Moreno

Less idiocy and more synchronicity, Igor and Moreno’s vocals, then 30-minute+ jumping earns them kudos. The continuous bouncing is not transformative or an empathy tool but a form and rigour on which they layer playfulness and personality in this minimalist work. Building from an a Capella medley the rhythm of the jumping becomes so ingrained that they pair are free; to undress, exit and enter again and distribute nips of liquor. From the beginning generous and likeable, they observe us and we them, feeling they see you not en masse but individually. The interactive boozy element has the affect of changing the condition of our viewing, a distraction they use to change the tempo. Becoming somewhat more formal, or ‘choreographic’, adding gestures and spatial configurations this change doesn’t seem to add much but guides us inoffensively to the end. Seamlessly they drop into circling, winding into an embrace that is tender and reiterating the simpatico. Humorous, tender at times, this is a well-crafted and entertaining work.

Louise Tanoto

Idiot-Syncrasy’s creators, Igor Urzelai and Moreno Solinas, stand centre stage and observe the audience before breaking into song. The performers build up to a crescendo with their heels marking the beat, accumulating energy until they begin to bounce, in unison, making their way through the space whilst continuing to seek eye contact with viewers. Igor and Moreno do not employ this repetitive bounce motif to achieve a transformative state, instead it takes a backseat to their informal and fleeting encounters with audience members. This endeavour climaxes when they bounce through the seating area and distribute bottles of liquor and plastic cups – confusing the common spectator/performer relationship – although it also distracts and detracts from their subtly fading stage presence. In the concluding moments of the work Igor and Moreno’s movements morph into grounded twirls and shuffles and, finally finding each other, their gaze softens and arms entwine.

Luke Forbes

After Heretics, the obstinate choreography of Ayelen Parolin from Belgium, another minimalist piece appears at Aerowaves, this time from England. Igor Urzelai and Moreno Solinas presented Idiot-Syncrasy, one of the most amazing and touching works seen in this Spring Forward. During 45 minutes the two elegant dancers jump in perfect synchronicity while also performing many different actions. Wheras the Belgian piece is as cold and rational as Lucinda Childs was in the seventies, Idiot-Syncrasy is warmer, funny and human. Igor and Moreno have a mutual understanding and a high caliber sensitivity that generates a very positive energy that they know how transmit to the audience. The work has references from Pina Pausch and Jérôme Bel (great tribute to his Shirtology) but is absolutely original because of its jumping format.

Omar Khan