McCarthy's performance is rooted in five years of research and personal experience as an alpinist, culminating in a poetic and philosophical reflection on power dynamics, structures of violence and efforts to deconstruct, rethink and overcome. It focuses on sexism and racism in the history of alpinism, inherent colonialism and nature perception, set within a mountain allegory. A text and music assemblage of research and autobiographical experience combine to address violence and bigotry in a sentient search for new strategies and ways of coping and healing together with an ensemble of climbers, dancers, musicians and a community choir.
The mountain as a symbol of aggression has become porous; the glaciers are melting and the rocks are crumbling. Summit fixation has become superfluous. A renaissance in the perception of nature occurs, told through a group of melting figures that have immersed themselves, been overgrown, and thus are able to communicate with the mountain as a living organism.
On the occasion of the performance's premiere, two accompanying publications TRICKLES & OOZES and THE HILLS HAVE CRAZY EYES - Woman in a Landscape, including the research and notes/sketches leading up to the project were published by Edition Taube with a bronze edition of McCarthy's sculpture Melt (dancer) produced together with Fonderia Artistica Battaglia in collaboration with Sperling.
https://www.muenchner-kammerspiele.de/en/programm/30730-the-hills-have-crazy-eyes
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photos @ gabi neeb