PERFORMANCE COMO COSTRUÇÃO DE IMAGENS
Dia de experimentações com Dani d'Emilia & Andrea Inocêncio
Data: 3 Março 2013, 10-20h (com pausa almoço) | Local: Roundabout (Atelier de Artistas, Anjos - LX)
Corpo, objeto e aquitectura como ferramentas para criação e manipulação de auto-imagens e noções de identidade.
Público alvo: amadores e profissionais nas áreas das artes em geral
Custo: €25 | Inscrições através do email: dani.roundabout@gmail.com
Data limite para inscrições: 24 Fev 2013
Mais info sobre o trabalho de Dani e Andrea pode ser visto em:www.dani-demilia.blogspot.pt
www.andreainocencio.com
Data: 3 Março 2013, 10-20h (com pausa almoço) | Local: Roundabout (Atelier de Artistas, Anjos - LX)
Corpo, objeto e aquitectura como ferramentas para criação e manipulação de auto-imagens e noções de identidade.
Público alvo: amadores e profissionais nas áreas das artes em geral
Custo: €25 | Inscrições através do email: dani.roundabout@gmail.com
Data limite para inscrições: 24 Fev 2013
Mais info sobre o trabalho de Dani e Andrea pode ser visto em:www.dani-demilia.blogspot.pt
www.andreainocencio.com
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IF TEATRO
Em 2013 a formação artística está de volta ao Institut Français de Portugal !
Estágios profissionais e ateliers.http://www.ifp-lisboa.com/index.php/agenda-detail-evenement/events/3291.html
Philippe Fialho (bailarino, coreógrafo), Mickaël Gaspar (actor) e Renato Ribeiro (actor, encenador e director artístico), três artistas luso-franceses vindos de Paris, orientam estágios profissionais e ateliers de teatro, num retorno da formação de actor ao Institut français du Portugal (IFP).
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Ciclo Workshops Novas Tendências nas Artes Performativas
Os trabalhos das mais recentes gerações de artistas surpreendem-nos com novas leituras, novos olhares e articulações com o mundo. Quando criam, relacionam-se, de forma vibrante, com uma sociedade em mudança rápida e abrupta da qual fazem parte.
Este ciclo, que agora retomamos, pretende confrontar estes artistas com uma situação de transmissão e direcção pedagógica. É-lhes pedido que, desta vez, perspectivem as suas questões artísticas do ponto de vista do “orientador” e que proporcionem um caminho de descoberta para os outros através das suas perguntas e dos seus processos.
Para os participantes, a par de espaços de aprendizagens sobre improvisação, composição e dramaturgia, proporciona-se uma oportunidade de “entrada” nos mundos destes artistas, através da compreensão, experimentação e reformulação dos seus universos de criação.
Este ciclo, que agora retomamos, pretende confrontar estes artistas com uma situação de transmissão e direcção pedagógica. É-lhes pedido que, desta vez, perspectivem as suas questões artísticas do ponto de vista do “orientador” e que proporcionem um caminho de descoberta para os outros através das suas perguntas e dos seus processos.
Para os participantes, a par de espaços de aprendizagens sobre improvisação, composição e dramaturgia, proporciona-se uma oportunidade de “entrada” nos mundos destes artistas, através da compreensão, experimentação e reformulação dos seus universos de criação.
Destinado a estudantes e profissionais das artes performativas.
15 e 16 de Dezembro 2012
Mariana Tengner Barros
Mariana Tengner Barros
A BELA É O MONSTRO Práticas de Criação em performance
15 e 16 Dez. (sáb. e dom.) - 11h/18h
15 e 16 Dez. (sáb. e dom.) - 11h/18h
Preço - 40€ até dia 10 Dez. | 45€ a partir 11 Dez.
O meu trabalho preocupa-se geralmente com o vazio que se instaura quando se pensa na transição/transgressão do corpo privado/íntimo para o corpo público/político – um certo niilismo, sintoma de uma enorme perda que coloca em evidência o carácter artificial, banal, superficial a que os protocolos (e os cânones) dos espaços e instituições públicos nos obrigam. Intrigam-me as diferenças entre “exibir” e “existir”, o que muda quando somos observados e a dimensão do fenómeno “big-brother is watching you”: a ideia de documentação da vida quotidiana que se transforma em monstro de banalidade espectacular. Para este workshop, proponho um pequeno programa no qual se possa investigar formas de transgressão dos protocolos / cânones associados ao corpo, construindo, desconstruindo e destruindo identidades, comportamentos, estados/qualidades de presença. Usando o corpo e a voz como ferramentas base para desenvolver imagens/situações/cenas/danças onde operamos como agentes disfarçados sob a nossa própria imagem para sabotar a percepção de quem vê e de quem faz.
Mariana Tengner Barros
Mariana Tengner Barros é Licenciada em dança pela Northern School of Contemporary Dance-NSCD, estagiou no Ballet Theatre Munich, sob a direcção artística de Philip Taylor e completou o Programa de Estudo e Criação Coreográfica-PEPCC do Fórum Dança tendo formação com Francisco Camacho, Vera Mantero, Miguel Pereira, João Fiadeiro, Deborah Hay, Lisa Nelson, Mark Tompkins, Meg Stuart, entre outros. Como criadora apresentou At Once, adaptação coreográfica de um solo de Deborah Hay (2009) And So?...The End ( 2010), Après Le Bain (2011) e The Trap (2011), trabalhos apresentados em Portugal, Inglaterra, França, Espanha e Bélgica. Como intérprete destaca o trabalho com os coreógrafos Filip van Huffell/Retina Dance, Rui Horta / Companhia Instável, Né Barros/Balleteatro Companhia; Vera Mantero/ PEPCC, Francisco Camacho, Carlota Lagido, Rafael Alvarez; e com o encenador John Romão.
Mariana Tengner Barros é Licenciada em dança pela Northern School of Contemporary Dance-NSCD, estagiou no Ballet Theatre Munich, sob a direcção artística de Philip Taylor e completou o Programa de Estudo e Criação Coreográfica-PEPCC do Fórum Dança tendo formação com Francisco Camacho, Vera Mantero, Miguel Pereira, João Fiadeiro, Deborah Hay, Lisa Nelson, Mark Tompkins, Meg Stuart, entre outros. Como criadora apresentou At Once, adaptação coreográfica de um solo de Deborah Hay (2009) And So?...The End ( 2010), Après Le Bain (2011) e The Trap (2011), trabalhos apresentados em Portugal, Inglaterra, França, Espanha e Bélgica. Como intérprete destaca o trabalho com os coreógrafos Filip van Huffell/Retina Dance, Rui Horta / Companhia Instável, Né Barros/Balleteatro Companhia; Vera Mantero/ PEPCC, Francisco Camacho, Carlota Lagido, Rafael Alvarez; e com o encenador John Romão.
Foto: © Christoph Mueller
PRÓXIMOS WORKSHOPS | 2013
Body Mind Centering com SARA JALECO – 12 e 13 de Janeiro
Feldenkrais com Claudia Mader – 27 Janeiro
Ciclo Novas Tendências nas Artes Performativas com Luís Guerra – 9 e 10 de Fevereiro
Mais informação brevemente.
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The first VENICE INTERNATIONAL PERFORMANCE ART WEEK, under the title Hybrid Body - Poetic Body, will take place in Venice from December 8th to December 15th, 2012, showcasing works by 31 international artists. Pioneers alongside established and emerging ones will trace an itinerary of still vivid past influences and current tendencies in the field.
Consisting of a dynamic program of live performances, installations, photographic and video documentation, daily artist talks, and meetings with the participating artists, researchers and curators, the event focuses on concepts such as authenticity, interconnectivity, empathy, struggle, love, political and social habits, and how the Self relates to them.
ARTISTS Yoko Ono (Nutopia), VALIE EXPORT (Austria), Hermann Nitsch (Austria), Jan Fabre (Belgium), Ilija Šoškić (Montenegro/Italy), Boris Nieslony (Germany), Jill Orr (Australia), Lee Wen (Singapore), Gonzalo Rabanal (Chile), Helena Goldwater (UK), Snežana Golubović (Serbia/Germany), Jason Lim (Singapore), Manuel Vason (Italy/UK), Joseph Ravens (USA), Prem Sarjo (Chile), Suka Off (Poland), Nelda Ramos (Argentina), Shima (Brazil), BBB Johannes Deimling (Germany/Norway), VestAndPage (Germany/Italy), Santiago Cao (Argentina), Francesca Fini (Italy), Francesco Kiàis (Italy/Greece), Wanda Moretti | Il Posto (Italy), Gabriela Alonso (Argentina), Alvaro Pereda Roa (Chile), Andrea Morucchio (Italy), Macarena Perich Rosas (Chile), Marcus Vinicius (Brazil), Weeks & Whitford (UK), David Dalla Venezia (France/Italy), Zierle & Carter (UK).
CURATOR Andrea Pagnes (VestAndPage)
CO-CURATORS Blair Todd (The Exchange and Newlyn Art Gallery, UK) and Gabriela Alonso (Zonadeartenacciòn, Argentina).
PROGRAM
Artists Talks & Presentations: Monday, 10 - Saturday, 15 December 2012, 11 am - 1 pm
Live Durational Performances: Sunday, 09 - Saturday, 15 December 2012, 3 pm - 7 pm
Evening Program of Live Performances: Saturday, 08 - Saturday, 15 December 2012, 7 pm - 10 pm
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The Well-Tempered Exposition
Call for participation
Collaborative performance workshop
For emerging performance artists, actors, singers and musicians
Pablo Helguera: The Well-Tempered Exposition
A project for Location One
Part one of a year-long experimental performance project by Mexican artist Pablo Helguera.
Using Bach’s famous keyboard exercises The Well-Tempered Clavier as a starting
point, Helguera will organize a series of performance workshops that explore the formal
elements of the score.
Workshop Schedule
Preliminary orientation: Friday, September 16th, 5:30-6:30pm
Workshops: Monday and Tuesday Sept 19-20, 5:30-9pm
Performance: September 21, 2011, 7pm
Location One and artist Pablo Helguera are in search of 10 emerging performing artists,
actors, singers or musicians interested in participating in a 2-day intensive performance
workshop culminating in a public showcase on September 21, 2011.
The Well-Tempered Exposition is a methodical investigation of the formal components
of the performance art practice. The project will be developed as a series of scores that
will be developed and performed in a series of public experimental workshops at
Location One. Upon its completion, The Well-Tempered Exposition will exist as a
collection of scores to better understand the rhetoric and compositional structure of
performance art as we understand it today.
In this initial workshop participants will collaborate in the interpretation and construction
of the first set of scores, to be presented on September 21st, 2011 at Location One.
We are looking for participants with one or more of the following:
Verbal/public speaking skills
Musical knowledge/skills
Acting skills
Movement skills
Interest in the history of performance art
Interest and/or experience in collaborative/ensemble work
Interested participants should submit a letter of interest and resume to
well-tempered@location1.org by September 1, 2011.
About this project at Location One, the artist has written: “To create a group of scores
that also serve as a taxonomy of the formal elements of visual performance art would
be contradictory, as the notion of performance is so fluid that it escapes any attempt to
dissect its components. However, the project proposes that there is a recurrent conceptual
vocabulary derived from a shared history, sets of references, and appropriated formats
that allow performance art to constantly reinvent itself while at the same time remain
identifiable as a meta-discipline of art. The goal of this project is to originate a textbook
in the form of 48 scores that examine these different components.”
The project is structured around the existing forms in Johann Sebastian Bach’s The
Well-Tempered Clavier (1722), a collection of keyboard exercises composed in all
24 major and minor keys “for the profit and use of musical youth desirous of learning,
and especially for the pastime of those already skilled in this study.” Bach’s compositions
will serve as a guide to construct each one of the 48 scores. Each score will be
rehearsed and developed through public workshops and presented in performance evenings.
Workshops will be presented free of charge.
About Pablo Helguera Pablo Helguera (Mexico City, 1971) is a visual and performance
artist living in New York. He works in the fields of pedagogy, literature, musical composition,
and theater. His projects have included performance lectures, scripted symposia, and panel
discussions with or without the knowledge of the audience, as well as a variety of experimental
formats of verbal presentation.
Helguera’s works have been presented in many venues such as the Liverpool Biennial,
Performa 05, Museo Reina Sofia in Madrid, ICA in Boston, MoMA, among others.
His play The Juvenal Players, produced by Grand Arts in Kansas City, was presented at
The Kitchen in 2010. His orchestral work Endingness was performed by the Detroit
Symphony Orchestra under the direction of Leonard Slatkin. He is the author of more than
10 books including Theatrum Anatomicum (and other performance lectures), a collection
of performative works. His social practice project The School of Panamerican Unrest (2006)
consisted in the creation of a nomadic schoolhouse that traveled by land throughout the
Americas from Alaska to Chile, presenting collaborative performance and civic events in
over 26 cities. He has been recipient of the Guggenheim Fellowship, the Creative Capital
Grant; and in 2011 was named the first winner of the International Award for Participatory
Art of the Regione Emilia Romagna in Italy. As educator, Helguera has worked in museums
for over two decades, currently working as Director of Adult and Academic Programs at
The Museum of Modern Art. He is the Pedagogical Curator of the 8th Mercosul Biennial,
opening in September 2011.
ABOUT LOCATION ONE
Based in the Soho arts district of New York, Location One is an independent, non-profit
organization dedicated to fostering new forms of creative expression and cultural
exchange through exhibitions, residencies, performances, public lectures and workshops.
Traditionally focused on technological experimentation and new media, Location One’s
residencies and programs have favored social and political discourse and dialogue, and acted
as a catalyst for collaborations. With a unique environment providing individualized training,
support, and guidance to each artist, as well as exposure for their creations and collaborations,
Location One continues to nurture the spirit of experimentation that it considers the cornerstone
of its mission.
Location One • 26 Greene Street NYC 10013 • +1 212.334.3347 • http://location1.org
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deadline for applications 31st of august 2011
PAS is welcoming you to Performance Art Studies#21
-/ Global Communication/-
In cooperation with Bartosz Lukasiewicz and the Global Communication Performance Art Festival, Elektrownia
16. – 25. september 2011 / Radom, Poland
- Deadline for applications 1st of September 2011 -
Background
Global communication
Our modern communication offer great possibilities and enable us to reach any point in the world just by a click. To get in contact is easy, to become part of communities as well and to share interests, opinions and worries, no problem. But how does our neighborhood change during these times? City marketing and advertising determine what we get to see around us, varied codes of conduct regulate what to do and not to do. Public space has been increasingly functionalized and freed from any intimacy. We are exposing us in social networks, but we don’t find a public place with a personal touch. During the study we will use a variety of techniques and exercises to focus perception of our own personality and the surrounding. We are developing skills to communicate in a concrete way with body and actions, and transform these into a performative work.
The presentation of this study will be shown as part of the Global Communication Festival for Performance Art 2011.
Global Communication
For the second time PAS is invited by polish artist and organizer Bartosz Lukasiewicz and the center of contemporary arts Elektrownia in Radom, Poland (click here to see the documentation of PAS #11). Global Communication is an international Festival of Performance art. The focus in this year will be the notion of public spaces and site specific works.
Please check : http://tinyurl.com/3de2ao3
Application form: http://tinyurl.com/3d55awl
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13+13 performances that influenced VestAndPage...
If you'd like to know why VestAndPage are doing, what they are doing, here are 13+13 performances that influenced Verena&Andrea.
Influence means that these works opened us horizons, of our hearts, minds, and perception about what art can be and do. These are just some, and in random order. But each single one of them carries a truth that makes us carry on every day.
VERENA's 13 >
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo (Rome, Italy, 1975)
Alvaro Pereda, The Bonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Matthew Barney, Cremaster Cycle (U.S., 1994-2002)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Chris Burden, Shoot (Santa Anna CA, U.S., 1971)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
Melati Suryodarmo, Exergie - Butter Dance (Various venues, 2000-05)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Lyon, France, 2004)
Marina Abramović & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
ANDREA's 13 >
Shima, Trauma (Vitoria, Brazil, 2011)
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Yoko Ono, Cut Piece (Japan, 1964; Paris, 2003)
Ulay & Marina Abramović, Relation Work (Various Venues, 1976-79)
Ilija Šoškić, Intervention-Conversation (Belgrade, Serbia, 2010)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
Pina Bausch, Die Klage der Kaiserin (Film, Germany, 1990)
Gonzalo Rabanal, Mal decir la letra (Various venues, Chile, 2007-11)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
Melissa Garcia Aguirre, Intra Melissa (Various venues, México, 2009-11)
Snežana Golubović, I Love You (Beijing, China, 2009)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
"The unattainable is still ahead of us," according to Kaprow's view: The next work of art is not yet created and always in the making. Or: "Remembering is to forget." (Hermann-Josef Schlingensief).
The artistic field of Christoph Schlingensief seems like a ramble through the arts - from filmmaker to political performance artist, theatre and opera director, actor. With his exuberant material clumps he created not only fluent boundaries between artistic genres, but de-and reconstructed imagery that soaks it all up, that resists linearity and classical narration, leaving the viewer with the feeling of being overwhelmed. For him, one is tempted to use the term "universal artist". (http://www.schlingensief.com/)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo - Sparo nel muro (Rome, Italy, 1975)
Šoškić's performance had four parts:
The first part was a pink silk cushion, placed on the floor. The artist sat on the cushion and encouraged the audience to engage in a contradictory conversation: all the arguments were simultaneously supported and refuted, including ambiguity and indifference.
In the second part he used a knife and sheath, stuck in the center of the wall, without any stories, without a "dramaturgy", and involving the public with the act of tautology (a thing is explained in itself).
The third part was a black table on which the artist invited another artist to arm wrestle (a thing is explained in itself).
For the fourth, final part the artist chooses a windowless room, placing on the floor next to the wall a bottle of milk and a loaded gun. After one hour, at half-time, the artist enters the room, takes the bottle of milk in his left hand and the gun in his right hand. He aims the weapon at the wall in front of him and fires. Then he replaces everything and leaves the room. He leaves the gallery, thereby concluding the performance.
The idea for this came from the memory of the suicide of the Russian futurist poet Mayakovsky, who shot himself in the head, leaving behind a note that said, "I wouldn't advise this to anyone."
Maximum energy-Minimum Time, Leaden Years, the revolutionary dream, utopia, reality and so many things more; the shot at the wall as the axiom of time and of art that was a sign... (http://www.mg-lj.si/node/277)
Alvaro Pereda, TheBonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Alvaro Pereda in TheBonzo Men - Forforritos Play stands in a busy square of Concepcion. With naked torso, he pours gasoline over his body. Soaked in the inflamable liquid, he keeps standing, with a lighter in his hand, half offering it to the public, half ready to alighten it. The hot sun burns the gasoline onto his skin, which in reaction turns white. People shoot photos, watch, wonder, talk. After some time, police takes Pereda away. (http://www.youtube.com/watch?v=QJ2MsWjcCfg)
Matthew Barney, Cremaster Cycle (1994-2002)
The Cremaster Cycle is an art project consisting of five feature length films, together with related sculptures, photographs, drawings, and artist's books; it is the best-known work of American visual artist and filmmakerMatthew Barney. Realized over a period of eight years (1994–2002) and culminated in a major museum exhibition organized by Nancy Spector of the Solomon R. Guggenheim Museum in New York City, which traveled to the Museum Ludwig in Cologne and the Musée d'art Moderne in Paris from 2002-03. (http://wn.com/Cremaster_4_Fashion)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
A performative installation held during the festival MOLA in Salvador de Bahia, Brazil, 2010, by Argentine Performance artist Santiago Cao. In this piece, Santiago set himself naked inside a fishing net, which was hanging from a huge balance-construction. On one side of the balance there was he, and on the other side, as counterweight, were hanging 60 kg of bones and beef meat. The action lasted 8 hours under the hot Brazilian sun, in the middle of a busy avenue. In his motivation, Santiago states: ”How much does flesh weigh? And how much is the weight of the person behind the flesh in a society that denies and eradicates people? In prostitution, women and men are mere objects of consumption. In business there are no people, only Human Resources. In colonial times, slaves were treated as mere commodities, not as humans.” (http://www.artistanoartista.com.ar/)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Prem Sarjo kneels down bare-chested. Someone confronts him with a small machine, which is to be used on top of the back. It is understood that the performance will be a tattoo, but the ink does not appear even though the blood dripping. What appears on the flesh are wounds, shaping the letters of three mirrored words. Sarjo stands up, but only to spin on his axis and to kneel down again. The same operation is repeated on his chest, this time the phrase is written in the right direction: Itro fil mogen.
A person approaches Sarjo. She presses a white sheet of paper on each wound. Those papers are glued on the left and right walls of the performance space, framing the action for a moment. The body breathes in silence. The scars' replica is printed in blood, even when the wounds will have disappeared.
Itro Fil Mogen, Mapuche words, translates as "Totality without Exclusion." (http://hipermedula.org/2011/04/tatuajes/)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Continuous change, transformation, and dissolution of matter and the change in physicality and expression. After lighting a candle, Gisela Hochuli allows the flame to burn a thread. A second candle is lit and used to set alight sheets of tissue paper one by one. The tissue paper burns in air causing a shower of ash to fall upon the floor. Gisela Hochuli wallows in the ashes until all of it sticks to her clothes. She lights the third candle and positions herself with her back towards the audience. After searching for a rhythm within she begins to dance. Soon she turns to the audience and gives herself over to the dance. After a while she invites the audience to join in.
Chris Burden, Shoot (Santa Anna CA, US, 1971)
Burden, on November 19, 1971, in Santa Ana, California, produced a classic, or an atrocity, of conceptual art by getting shot. Shoot survives in desultory black-and-white photographs with this description: “At 7:45 p.m. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Why do such things? “I wanted to be taken seriously as an artist,” Burden explained. (http://sammybenyakoub.wordpress.com/2010/12/19/chris-burden-and-the-limits-of-art/)
Melati Suryodarmo, Exergie - Butter Dance (2000)
Suryodarmo, on a black square dance carpet, is dancing on 20 x 250 g of butter. For about 20 minutes, she falls, stands up, falls, stands up... (http://www.melatisuryodarmo.com/html/w-p/02a2.html)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Biennial of Lyon, 2004)
The inspiration for this piece was the anthropometric acts by Yves Klein in which bodies were used as living paintbrushes. A female dancer moves beneath a sky full of bottles, from which olive oil first drips then gushes and splashes and finally transforms the whole stage into a reflecting bath. The musical Leitmotiv is the familiar Italian song Volare (oh-oh) by Dominic Modungo. An ode to Klein's work, and especially his photo Leap into the Void. Fabre sees the whole piece as a ritualistic preparation for the highest leap, which takes us back to the matriarchy. The strength of this solo lies in its constant shifts: from man to woman, from human to animal, from straight line to circle, from rolling, sliding movements to rising slowly upright, like a tree that grows more and more branches, like a swan that has fertilised itself. The atmosphere is summery and Italian, but the howling wind ranges from a gentle summer breeze to an approaching storm. The dancer herself also alternates ritualistic transformations with a juggler's and conjuror's tricks. Humming all the time, she plays with her gender, with balls in her trousers, on her chest or in her mouth. Before you know it an hermaphrodite becomes a sexless angel. (http://www.troubleyn.be/page.php?pageID=19&parentID=4&lingo=eng)
Marina Abramovic & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Created after Ulay and Abramović had returned from a long period in the Australian outback, the performance work consisted of Abramović and Ulay seated in stillness and silence at a table, in one version with a Tibetan Buddhist lama and a member of the Pintubi tribe from the Central Australian Desert. Night Sea Crossing is among Abramović’s earliest tableaux pieces that layers time, presence, and mindfulness into a live collaborative moment for viewer and performer. (http://www.guggenheim.org/images/content/pdf/new_york/press/thirdmind_presskit.pdf)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
Absolute Zero explores the situation of complete stillness, when things can‘t move, because it is minus 273 degrees. Yet in dance and life there can‘t be complete stillness.Absolute Zero is the filming of the heartpiece of the two hour long stage version. With consequent purism the piece was adapted for the camera. The stage design is geometric: horizontal, vertical - never diagonal. Teshigawara is standing still for a considerable time. His arm lifts almost unnoticable. He seems boneless. To the minimalistic pianomusic of the Caucasian Mystic Georges I. Gurdjieff and Thomas de Hartmann, Teshigawara and his partner Kei Miyata develop their inner speed. Everything is flowing.
Bound is a parable on the laws of art, based on Ilse Aichinger’s short story Der Gefesselte. A man wakes up. He is bound. The bonds leave him room to move. He performs in a circus. A woman tries to match his movements in the bonds; she fails to seduce him. The bound man finds a wolf in the forest. In his bonds he is equivalent to the wolf. He brings him to the circus. They perform in the circus. The woman cuts the bonds. The wolf almost kills the man. The woman shoots the wolf. The man goes away.(http://www.prestoclassical.co.uk/r/Arthaus%2BMusik/101815)
Shima, Trauma (Vitoria, Brazil, 2011)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
How does artist Matthew Barney use 45,000 pounds of petroleum jelly, a factory whaling vessel and traditional Japanese rituals to create his latest art project? Barney plowed the waters off the coast of Nagasaki to film his massive endeavor, Drawing Restraint 9. The documentary Matthew Barney: No Restraint journeys to Japan with Barney and his collaborator Bjork, as the visual artist creates a "narrative sculpture" telling a fantastical love story of two characters that transform from land mammals into whales. (http://www.celluloid-dreams.com/library/m_r/matthew_barney_no_restraint/)
Yoko Ono, Cut Piece (Photo: Japan, 1964; Paris, 2003)
“CROWD CUTS YOKO ONO’S CLOTHING OFF!” and “YOKO ONO DOES STRIPTEASE FOR PEACE!” and “FRENCH FIGHT SHY OF YOKO’S STRIP!” sensationalized the headlines. None of the media even hinted at the deeper meaning of Yoko Ono—in the name of world peace (and perhaps a new love of life)—having allowed the crowd to cut off her widow’s weeds. Even more symbolic was the fact that Yoko Ono performed this finalé of her legendary Cut Piece in Paris, the fashion capital of the world. Instead of a dress being paraded for potential buyers, a dress was being cut to shreds. More than a demonstration for peace, world peace, but a statement against capitalism; a cry for the return to nature that would save our planet, our species. The courage Yoko displayed—considering the murder of John Lennon with her literally at his side, and the innumerable death threats she's received ever since—in daring to repeat a performance that would not only expose her throat to a potential assassin but put into the assassin’s hand a deadly weapon: a pair of well-sharpened scissors. (http://frenchcx.com/Yoko.php)
Ulay & Marina Abramovic, Relation Work (1976-79)
Gonzalo Rabanal, of the series "Mal decir la letra" (2011)
A performance that problematizes the verticality of family education and school. In the first action, Rabanal's father (grandfather) reads the “Silabario del ojo” while his childen stab with pencils and knives between his fingers. This action is recorded to be sentsimultaneously distributed monitors in the museum, in order to show details of the work to the viewer.
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Deimling's head and hands are completely covered with patches. He lights an umbrella and walks with the burning umbrella through the streets and public places of the city Ponteverda.
(http://bbbjohannesdeimling.de/index.php?/hidden/dont-hurt-me-3--2009/)
Melissa Garcia Aguirre, Intra Melissa (five parts) (México D.F., 2009)
Intra Melissa refers to a body eager to know itself, through itself, against the dissociation and fragmentation of the body of which we are victims.
"Melissa Garcia's work investigates the precarious nature of physical life from a humble but not resigned perspective. She discovers the poetic vitality irrevocably. Her struggle and graceful and elusive presence can only arise from an extraordinary courage to face life, allowing to accept the inevitable final celebrating its tragic beauty. The celebration of the phenomena of life like physical pain, blood circulation, injury and convalescence remind us that all our poetic exist in a place called the body. That body is claimed humble and unnoticed in the work of Melissa Garcia as the essential place of all human poetry, without which they could not exist." (Eduardo Flores Castillo, http://melissacorporalidad.blogspot.com/)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
In 2001, Romeo Castellucci and Socìetas Raffaello Sanzio launched the enormous cycle ofTragedia endogonidia, a performance system that, like a living organism, transforms itself in time and space depending on the path it takes from one premiere to another through European cities, leaving from Cesena to return there, by way of Berlin, Brussels, Bergen, Paris, Rome, Strasbourg, London, Marseille and Avignon. The theme common to the 11 episodes, spread out over four years and an entire continent, is a lyricism of suffering, from which a vital energy of bodies emerges that the spectator perceives through a certain violence, but also through the experience of the movements, rhythms, colours and sounds of our contemporary world. (http://contemporaryperformance.com/2010/09/14/in-performance-romeo-castellucci-societas-raffaello-sanzio-the-divine-comedy/)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Beuys’s most famous Action took place in May 1974, when he spent three days in a room with a coyote. After flying into New York, he was swathed in felt and loaded into an ambulance, then driven to the gallery where the Action took place, without having once touched American soil. As Beuys later explained: ‘I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.’ The title of the work is filled with irony. Beuys opposed American military actions in Vietnam, and his work as an artist was a challenge to the hegemony of American art. Beuys’s felt blankets, walking stick and gloves became sculptural props throughout the Action. In addition, fifty new copies of the Wall Street Journal were introduced each day, which the coyote acknowledged by urinating on them. Beuys regularly performed the same series of actions with his eyes continuously fixed on the coyote. At other times he would rest or gather the felt around him to suggest the figure of a shepherd with his crook. The coyote’s behaviour shifted throughout the three days, becoming cautious, detached, aggressive and sometimes companionable. At the end of the Action, Beuys was again wrapped in felt and returned to the airport. (http://onlyowl.blogspot.com/2009/08/howl-at-moon.html)
Pina Bausch, Die Klage der Kaiserin (Film, 1990)
This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations, such as the woods and fields around Wuppertal, the city centre, the suspension railway, a carpet shop, a greenhouse and the rehearsal room. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. (http://contemporarydance-db.blogspot.com/2009/11/pina-bausch-die-klage-der-kaiserin.html)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
The alchemical marriages of death and rebirth, and materiality and perfection that formed the crux of James Lee Byars’s performances and objects reached its apotheosis in his 1994 performance The Death of James Lee Byars. Enacted three years before the artist’s death in 1997, The Death of James Lee Byars consisted of a room covered entirely in gold leaf. Byars entered the room wearing a gold lamé suit and laid down on the floor, as if to vanish into his surroundings before viewers’ eyes. The artist stated that this performance demonstrated that “death is ultimately responsible for creating outer perfection.” For Byars, death was therefore not a descent into decay and oblivion, but rather a merging with a highly aestheticized and material eternity; over and over, he created works that posited death not as an endpoint but as a beginning, that highlighted the transience of existence but also gave it enduring form. (Claire Howard, "Making it Perfect: The Alchemical James Lee Byars", http://utvac.org/sites/files/vac/content_files/greenhill-howard-s.pdf)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
In 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at his castle in Austria, Schloss Prinzendorf. In 2004, he held an abbreviated (2-day) version of the work. All of Hermann Nitsch's previous Aktions (as he calls them) have been rehearsals towards the realization of his 6 Tage-Spiel. "The Six-Day Play is a reenactment of the story of creation," he says, "it is about the Death, and the Resurrection." After 40 years of performances, Nitsch finally reach his longtime goal with the 100th Aktion, August 3-9, 1998, held in the pastoral setting of Castle Prinzendorf, Nitsch's home for the last 30 years. Over 100 musicians played, there were marching bands, Gregorian music, church bells, and synthesizers, as an invading tank trampled onto the castle grounds to be doused with both animal blood and roses. The deaths of the three bulls during the play were offered as life for the participants. There was no hiding the fact that the meat came from the death of an animal: This is not a hamburger, this is a dead bull, and you're eating it. The death of the bull also offered an opening to a neural pathway, an excitation and affirmation of one's own state of being. (http://vienna-actionists.webs.com/hermannnitsch.htm)
Snežana Golubović, I Love You (Beijing, China, 2009)
Snežana Golubović stands in a corner of the space, equipped with a number of huge mirrors. She speaks into a microphone continously the words "I Love You". She addresses those words to herself in the mirror, to the people in the public, to passer-byes, to nobody, to everybody. The desperate mantra continues for hours, apparently emotionlessly, but provoking an entire series of sentiments. The Beijing performance ended when a girl approached Golubović saying: "I love you, too."
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1º Ciclo de Performances
Marlene Ramirez
Curadoria de Orlando Britto Jinorio (ES)
- Acção Pictórica “En Processo” - Idaira del Castillo (ES) (22 a 24 de Julho, durante o dia, no exterior do Fórum Cultural)
- Acções espontâneas - 23 de Julho (13h00, Centro de Vila Nova de Cerveira)
- “Una moneda para hacer subir una bandera” - Nuno Oliveira e Margarida Chambel (PT) (23 Julho, 17h00, Centro de Vila Nova de Cerveira)
- Acção espontânea Dani D’Emilia - (24 de Julho 13h00, Centro de Vila Nova de Cerveira)
Ciclo de Performances
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Performance de Ana Melo e Nuno Pinto alunos do Mestrado em Teatro
Sábado 23 de Julho 18:00
Galeria Geraldes da Silva
Rua Stº Ildefonso 225/229
4000-470 Porto
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EPAF WARSAW
EUROPEAN PERFORMANCE ART FESTIVAL
The first VENICE INTERNATIONAL PERFORMANCE ART WEEK, under the title Hybrid Body - Poetic Body, will take place in Venice from December 8th to December 15th, 2012, showcasing works by 31 international artists. Pioneers alongside established and emerging ones will trace an itinerary of still vivid past influences and current tendencies in the field.
Consisting of a dynamic program of live performances, installations, photographic and video documentation, daily artist talks, and meetings with the participating artists, researchers and curators, the event focuses on concepts such as authenticity, interconnectivity, empathy, struggle, love, political and social habits, and how the Self relates to them.ARTISTS Yoko Ono (Nutopia), VALIE EXPORT (Austria), Hermann Nitsch (Austria), Jan Fabre (Belgium), Ilija Šoškić (Montenegro/Italy), Boris Nieslony (Germany), Jill Orr (Australia), Lee Wen (Singapore), Gonzalo Rabanal (Chile), Helena Goldwater (UK), Snežana Golubović (Serbia/Germany), Jason Lim (Singapore), Manuel Vason (Italy/UK), Joseph Ravens (USA), Prem Sarjo (Chile), Suka Off (Poland), Nelda Ramos (Argentina), Shima (Brazil), BBB Johannes Deimling (Germany/Norway), VestAndPage (Germany/Italy), Santiago Cao (Argentina), Francesca Fini (Italy), Francesco Kiàis (Italy/Greece), Wanda Moretti | Il Posto (Italy), Gabriela Alonso (Argentina), Alvaro Pereda Roa (Chile), Andrea Morucchio (Italy), Macarena Perich Rosas (Chile), Marcus Vinicius (Brazil), Weeks & Whitford (UK), David Dalla Venezia (France/Italy), Zierle & Carter (UK).
CURATOR Andrea Pagnes (VestAndPage)
CO-CURATORS Blair Todd (The Exchange and Newlyn Art Gallery, UK) and Gabriela Alonso (Zonadeartenacciòn, Argentina).
PROGRAM
Artists Talks & Presentations: Monday, 10 - Saturday, 15 December 2012, 11 am - 1 pm
Live Durational Performances: Sunday, 09 - Saturday, 15 December 2012, 3 pm - 7 pm
Evening Program of Live Performances: Saturday, 08 - Saturday, 15 December 2012, 7 pm - 10 pm
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deadline for applications 31st of august 2011
PAS is welcoming you to Performance Art Studies#21
-/ Global Communication/-
In cooperation with Bartosz Lukasiewicz and the Global Communication Performance Art Festival, Elektrownia
16. – 25. september 2011 / Radom, Poland
- Deadline for applications 1st of September 2011 -
Background
Global communication
Our modern communication offer great possibilities and enable us to reach any point in the world just by a click. To get in contact is easy, to become part of communities as well and to share interests, opinions and worries, no problem. But how does our neighborhood change during these times? City marketing and advertising determine what we get to see around us, varied codes of conduct regulate what to do and not to do. Public space has been increasingly functionalized and freed from any intimacy. We are exposing us in social networks, but we don’t find a public place with a personal touch. During the study we will use a variety of techniques and exercises to focus perception of our own personality and the surrounding. We are developing skills to communicate in a concrete way with body and actions, and transform these into a performative work.
The presentation of this study will be shown as part of the Global Communication Festival for Performance Art 2011.
Global Communication
For the second time PAS is invited by polish artist and organizer Bartosz Lukasiewicz and the center of contemporary arts Elektrownia in Radom, Poland (click here to see the documentation of PAS #11). Global Communication is an international Festival of Performance art. The focus in this year will be the notion of public spaces and site specific works.
Please check : http://tinyurl.com/3de2ao3
Application form: http://tinyurl.com/3d55awl
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13+13 performances that influenced VestAndPage...
If you'd like to know why VestAndPage are doing, what they are doing, here are 13+13 performances that influenced Verena&Andrea.
Influence means that these works opened us horizons, of our hearts, minds, and perception about what art can be and do. These are just some, and in random order. But each single one of them carries a truth that makes us carry on every day.
VERENA's 13 >
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo (Rome, Italy, 1975)
Alvaro Pereda, The Bonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Matthew Barney, Cremaster Cycle (U.S., 1994-2002)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Chris Burden, Shoot (Santa Anna CA, U.S., 1971)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
Melati Suryodarmo, Exergie - Butter Dance (Various venues, 2000-05)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Lyon, France, 2004)
Marina Abramović & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
ANDREA's 13 >
Shima, Trauma (Vitoria, Brazil, 2011)
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Yoko Ono, Cut Piece (Japan, 1964; Paris, 2003)
Ulay & Marina Abramović, Relation Work (Various Venues, 1976-79)
Ilija Šoškić, Intervention-Conversation (Belgrade, Serbia, 2010)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
Pina Bausch, Die Klage der Kaiserin (Film, Germany, 1990)
Gonzalo Rabanal, Mal decir la letra (Various venues, Chile, 2007-11)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
Melissa Garcia Aguirre, Intra Melissa (Various venues, México, 2009-11)
Snežana Golubović, I Love You (Beijing, China, 2009)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
"The unattainable is still ahead of us," according to Kaprow's view: The next work of art is not yet created and always in the making. Or: "Remembering is to forget." (Hermann-Josef Schlingensief).
The artistic field of Christoph Schlingensief seems like a ramble through the arts - from filmmaker to political performance artist, theatre and opera director, actor. With his exuberant material clumps he created not only fluent boundaries between artistic genres, but de-and reconstructed imagery that soaks it all up, that resists linearity and classical narration, leaving the viewer with the feeling of being overwhelmed. For him, one is tempted to use the term "universal artist". (http://www.schlingensief.com/)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo - Sparo nel muro (Rome, Italy, 1975)
Šoškić's performance had four parts:
The first part was a pink silk cushion, placed on the floor. The artist sat on the cushion and encouraged the audience to engage in a contradictory conversation: all the arguments were simultaneously supported and refuted, including ambiguity and indifference.
In the second part he used a knife and sheath, stuck in the center of the wall, without any stories, without a "dramaturgy", and involving the public with the act of tautology (a thing is explained in itself).
The third part was a black table on which the artist invited another artist to arm wrestle (a thing is explained in itself).
For the fourth, final part the artist chooses a windowless room, placing on the floor next to the wall a bottle of milk and a loaded gun. After one hour, at half-time, the artist enters the room, takes the bottle of milk in his left hand and the gun in his right hand. He aims the weapon at the wall in front of him and fires. Then he replaces everything and leaves the room. He leaves the gallery, thereby concluding the performance.
The idea for this came from the memory of the suicide of the Russian futurist poet Mayakovsky, who shot himself in the head, leaving behind a note that said, "I wouldn't advise this to anyone."
Maximum energy-Minimum Time, Leaden Years, the revolutionary dream, utopia, reality and so many things more; the shot at the wall as the axiom of time and of art that was a sign... (http://www.mg-lj.si/node/277)
Alvaro Pereda, TheBonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Alvaro Pereda in TheBonzo Men - Forforritos Play stands in a busy square of Concepcion. With naked torso, he pours gasoline over his body. Soaked in the inflamable liquid, he keeps standing, with a lighter in his hand, half offering it to the public, half ready to alighten it. The hot sun burns the gasoline onto his skin, which in reaction turns white. People shoot photos, watch, wonder, talk. After some time, police takes Pereda away. (http://www.youtube.com/watch?v=QJ2MsWjcCfg)
Matthew Barney, Cremaster Cycle (1994-2002)
The Cremaster Cycle is an art project consisting of five feature length films, together with related sculptures, photographs, drawings, and artist's books; it is the best-known work of American visual artist and filmmakerMatthew Barney. Realized over a period of eight years (1994–2002) and culminated in a major museum exhibition organized by Nancy Spector of the Solomon R. Guggenheim Museum in New York City, which traveled to the Museum Ludwig in Cologne and the Musée d'art Moderne in Paris from 2002-03. (http://wn.com/Cremaster_4_Fashion)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
A performative installation held during the festival MOLA in Salvador de Bahia, Brazil, 2010, by Argentine Performance artist Santiago Cao. In this piece, Santiago set himself naked inside a fishing net, which was hanging from a huge balance-construction. On one side of the balance there was he, and on the other side, as counterweight, were hanging 60 kg of bones and beef meat. The action lasted 8 hours under the hot Brazilian sun, in the middle of a busy avenue. In his motivation, Santiago states: ”How much does flesh weigh? And how much is the weight of the person behind the flesh in a society that denies and eradicates people? In prostitution, women and men are mere objects of consumption. In business there are no people, only Human Resources. In colonial times, slaves were treated as mere commodities, not as humans.” (http://www.artistanoartista.com.ar/)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Prem Sarjo kneels down bare-chested. Someone confronts him with a small machine, which is to be used on top of the back. It is understood that the performance will be a tattoo, but the ink does not appear even though the blood dripping. What appears on the flesh are wounds, shaping the letters of three mirrored words. Sarjo stands up, but only to spin on his axis and to kneel down again. The same operation is repeated on his chest, this time the phrase is written in the right direction: Itro fil mogen.
A person approaches Sarjo. She presses a white sheet of paper on each wound. Those papers are glued on the left and right walls of the performance space, framing the action for a moment. The body breathes in silence. The scars' replica is printed in blood, even when the wounds will have disappeared.
Itro Fil Mogen, Mapuche words, translates as "Totality without Exclusion." (http://hipermedula.org/2011/04/tatuajes/)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Continuous change, transformation, and dissolution of matter and the change in physicality and expression. After lighting a candle, Gisela Hochuli allows the flame to burn a thread. A second candle is lit and used to set alight sheets of tissue paper one by one. The tissue paper burns in air causing a shower of ash to fall upon the floor. Gisela Hochuli wallows in the ashes until all of it sticks to her clothes. She lights the third candle and positions herself with her back towards the audience. After searching for a rhythm within she begins to dance. Soon she turns to the audience and gives herself over to the dance. After a while she invites the audience to join in.
Chris Burden, Shoot (Santa Anna CA, US, 1971)
Burden, on November 19, 1971, in Santa Ana, California, produced a classic, or an atrocity, of conceptual art by getting shot. Shoot survives in desultory black-and-white photographs with this description: “At 7:45 p.m. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Why do such things? “I wanted to be taken seriously as an artist,” Burden explained. (http://sammybenyakoub.wordpress.com/2010/12/19/chris-burden-and-the-limits-of-art/)
Melati Suryodarmo, Exergie - Butter Dance (2000)
Suryodarmo, on a black square dance carpet, is dancing on 20 x 250 g of butter. For about 20 minutes, she falls, stands up, falls, stands up... (http://www.melatisuryodarmo.com/html/w-p/02a2.html)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Biennial of Lyon, 2004)
The inspiration for this piece was the anthropometric acts by Yves Klein in which bodies were used as living paintbrushes. A female dancer moves beneath a sky full of bottles, from which olive oil first drips then gushes and splashes and finally transforms the whole stage into a reflecting bath. The musical Leitmotiv is the familiar Italian song Volare (oh-oh) by Dominic Modungo. An ode to Klein's work, and especially his photo Leap into the Void. Fabre sees the whole piece as a ritualistic preparation for the highest leap, which takes us back to the matriarchy. The strength of this solo lies in its constant shifts: from man to woman, from human to animal, from straight line to circle, from rolling, sliding movements to rising slowly upright, like a tree that grows more and more branches, like a swan that has fertilised itself. The atmosphere is summery and Italian, but the howling wind ranges from a gentle summer breeze to an approaching storm. The dancer herself also alternates ritualistic transformations with a juggler's and conjuror's tricks. Humming all the time, she plays with her gender, with balls in her trousers, on her chest or in her mouth. Before you know it an hermaphrodite becomes a sexless angel. (http://www.troubleyn.be/page.php?pageID=19&parentID=4&lingo=eng)
Marina Abramovic & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Created after Ulay and Abramović had returned from a long period in the Australian outback, the performance work consisted of Abramović and Ulay seated in stillness and silence at a table, in one version with a Tibetan Buddhist lama and a member of the Pintubi tribe from the Central Australian Desert. Night Sea Crossing is among Abramović’s earliest tableaux pieces that layers time, presence, and mindfulness into a live collaborative moment for viewer and performer. (http://www.guggenheim.org/images/content/pdf/new_york/press/thirdmind_presskit.pdf)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
Absolute Zero explores the situation of complete stillness, when things can‘t move, because it is minus 273 degrees. Yet in dance and life there can‘t be complete stillness.Absolute Zero is the filming of the heartpiece of the two hour long stage version. With consequent purism the piece was adapted for the camera. The stage design is geometric: horizontal, vertical - never diagonal. Teshigawara is standing still for a considerable time. His arm lifts almost unnoticable. He seems boneless. To the minimalistic pianomusic of the Caucasian Mystic Georges I. Gurdjieff and Thomas de Hartmann, Teshigawara and his partner Kei Miyata develop their inner speed. Everything is flowing.
Bound is a parable on the laws of art, based on Ilse Aichinger’s short story Der Gefesselte. A man wakes up. He is bound. The bonds leave him room to move. He performs in a circus. A woman tries to match his movements in the bonds; she fails to seduce him. The bound man finds a wolf in the forest. In his bonds he is equivalent to the wolf. He brings him to the circus. They perform in the circus. The woman cuts the bonds. The wolf almost kills the man. The woman shoots the wolf. The man goes away.(http://www.prestoclassical.co.uk/r/Arthaus%2BMusik/101815)
Shima, Trauma (Vitoria, Brazil, 2011)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
How does artist Matthew Barney use 45,000 pounds of petroleum jelly, a factory whaling vessel and traditional Japanese rituals to create his latest art project? Barney plowed the waters off the coast of Nagasaki to film his massive endeavor, Drawing Restraint 9. The documentary Matthew Barney: No Restraint journeys to Japan with Barney and his collaborator Bjork, as the visual artist creates a "narrative sculpture" telling a fantastical love story of two characters that transform from land mammals into whales. (http://www.celluloid-dreams.com/library/m_r/matthew_barney_no_restraint/)
Yoko Ono, Cut Piece (Photo: Japan, 1964; Paris, 2003)
“CROWD CUTS YOKO ONO’S CLOTHING OFF!” and “YOKO ONO DOES STRIPTEASE FOR PEACE!” and “FRENCH FIGHT SHY OF YOKO’S STRIP!” sensationalized the headlines. None of the media even hinted at the deeper meaning of Yoko Ono—in the name of world peace (and perhaps a new love of life)—having allowed the crowd to cut off her widow’s weeds. Even more symbolic was the fact that Yoko Ono performed this finalé of her legendary Cut Piece in Paris, the fashion capital of the world. Instead of a dress being paraded for potential buyers, a dress was being cut to shreds. More than a demonstration for peace, world peace, but a statement against capitalism; a cry for the return to nature that would save our planet, our species. The courage Yoko displayed—considering the murder of John Lennon with her literally at his side, and the innumerable death threats she's received ever since—in daring to repeat a performance that would not only expose her throat to a potential assassin but put into the assassin’s hand a deadly weapon: a pair of well-sharpened scissors. (http://frenchcx.com/Yoko.php)
Ulay & Marina Abramovic, Relation Work (1976-79)
Gonzalo Rabanal, of the series "Mal decir la letra" (2011)
A performance that problematizes the verticality of family education and school. In the first action, Rabanal's father (grandfather) reads the “Silabario del ojo” while his childen stab with pencils and knives between his fingers. This action is recorded to be sentsimultaneously distributed monitors in the museum, in order to show details of the work to the viewer.
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Deimling's head and hands are completely covered with patches. He lights an umbrella and walks with the burning umbrella through the streets and public places of the city Ponteverda.
(http://bbbjohannesdeimling.de/index.php?/hidden/dont-hurt-me-3--2009/)
Melissa Garcia Aguirre, Intra Melissa (five parts) (México D.F., 2009)
Intra Melissa refers to a body eager to know itself, through itself, against the dissociation and fragmentation of the body of which we are victims.
"Melissa Garcia's work investigates the precarious nature of physical life from a humble but not resigned perspective. She discovers the poetic vitality irrevocably. Her struggle and graceful and elusive presence can only arise from an extraordinary courage to face life, allowing to accept the inevitable final celebrating its tragic beauty. The celebration of the phenomena of life like physical pain, blood circulation, injury and convalescence remind us that all our poetic exist in a place called the body. That body is claimed humble and unnoticed in the work of Melissa Garcia as the essential place of all human poetry, without which they could not exist." (Eduardo Flores Castillo, http://melissacorporalidad.blogspot.com/)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
In 2001, Romeo Castellucci and Socìetas Raffaello Sanzio launched the enormous cycle ofTragedia endogonidia, a performance system that, like a living organism, transforms itself in time and space depending on the path it takes from one premiere to another through European cities, leaving from Cesena to return there, by way of Berlin, Brussels, Bergen, Paris, Rome, Strasbourg, London, Marseille and Avignon. The theme common to the 11 episodes, spread out over four years and an entire continent, is a lyricism of suffering, from which a vital energy of bodies emerges that the spectator perceives through a certain violence, but also through the experience of the movements, rhythms, colours and sounds of our contemporary world. (http://contemporaryperformance.com/2010/09/14/in-performance-romeo-castellucci-societas-raffaello-sanzio-the-divine-comedy/)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Beuys’s most famous Action took place in May 1974, when he spent three days in a room with a coyote. After flying into New York, he was swathed in felt and loaded into an ambulance, then driven to the gallery where the Action took place, without having once touched American soil. As Beuys later explained: ‘I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.’ The title of the work is filled with irony. Beuys opposed American military actions in Vietnam, and his work as an artist was a challenge to the hegemony of American art. Beuys’s felt blankets, walking stick and gloves became sculptural props throughout the Action. In addition, fifty new copies of the Wall Street Journal were introduced each day, which the coyote acknowledged by urinating on them. Beuys regularly performed the same series of actions with his eyes continuously fixed on the coyote. At other times he would rest or gather the felt around him to suggest the figure of a shepherd with his crook. The coyote’s behaviour shifted throughout the three days, becoming cautious, detached, aggressive and sometimes companionable. At the end of the Action, Beuys was again wrapped in felt and returned to the airport. (http://onlyowl.blogspot.com/2009/08/howl-at-moon.html)
Pina Bausch, Die Klage der Kaiserin (Film, 1990)
This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations, such as the woods and fields around Wuppertal, the city centre, the suspension railway, a carpet shop, a greenhouse and the rehearsal room. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. (http://contemporarydance-db.blogspot.com/2009/11/pina-bausch-die-klage-der-kaiserin.html)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
The alchemical marriages of death and rebirth, and materiality and perfection that formed the crux of James Lee Byars’s performances and objects reached its apotheosis in his 1994 performance The Death of James Lee Byars. Enacted three years before the artist’s death in 1997, The Death of James Lee Byars consisted of a room covered entirely in gold leaf. Byars entered the room wearing a gold lamé suit and laid down on the floor, as if to vanish into his surroundings before viewers’ eyes. The artist stated that this performance demonstrated that “death is ultimately responsible for creating outer perfection.” For Byars, death was therefore not a descent into decay and oblivion, but rather a merging with a highly aestheticized and material eternity; over and over, he created works that posited death not as an endpoint but as a beginning, that highlighted the transience of existence but also gave it enduring form. (Claire Howard, "Making it Perfect: The Alchemical James Lee Byars", http://utvac.org/sites/files/vac/content_files/greenhill-howard-s.pdf)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
In 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at his castle in Austria, Schloss Prinzendorf. In 2004, he held an abbreviated (2-day) version of the work. All of Hermann Nitsch's previous Aktions (as he calls them) have been rehearsals towards the realization of his 6 Tage-Spiel. "The Six-Day Play is a reenactment of the story of creation," he says, "it is about the Death, and the Resurrection." After 40 years of performances, Nitsch finally reach his longtime goal with the 100th Aktion, August 3-9, 1998, held in the pastoral setting of Castle Prinzendorf, Nitsch's home for the last 30 years. Over 100 musicians played, there were marching bands, Gregorian music, church bells, and synthesizers, as an invading tank trampled onto the castle grounds to be doused with both animal blood and roses. The deaths of the three bulls during the play were offered as life for the participants. There was no hiding the fact that the meat came from the death of an animal: This is not a hamburger, this is a dead bull, and you're eating it. The death of the bull also offered an opening to a neural pathway, an excitation and affirmation of one's own state of being. (http://vienna-actionists.webs.com/hermannnitsch.htm)
Snežana Golubović, I Love You (Beijing, China, 2009)
Snežana Golubović stands in a corner of the space, equipped with a number of huge mirrors. She speaks into a microphone continously the words "I Love You". She addresses those words to herself in the mirror, to the people in the public, to passer-byes, to nobody, to everybody. The desperate mantra continues for hours, apparently emotionlessly, but provoking an entire series of sentiments. The Beijing performance ended when a girl approached Golubović saying: "I love you, too."
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1º Ciclo de Performances
Marlene Ramirez
Curadoria de Orlando Britto Jinorio (ES)
- Acção Pictórica “En Processo” - Idaira del Castillo (ES) (22 a 24 de Julho, durante o dia, no exterior do Fórum Cultural)
- Acções espontâneas - 23 de Julho (13h00, Centro de Vila Nova de Cerveira)
- “Una moneda para hacer subir una bandera” - Nuno Oliveira e Margarida Chambel (PT) (23 Julho, 17h00, Centro de Vila Nova de Cerveira)
- Acção espontânea Dani D’Emilia - (24 de Julho 13h00, Centro de Vila Nova de Cerveira)
Ciclo de Performances
PAS is welcoming you to Performance Art Studies#21
-/ Global Communication/-
In cooperation with Bartosz Lukasiewicz and the Global Communication Performance Art Festival, Elektrownia
16. – 25. september 2011 / Radom, Poland
- Deadline for applications 1st of September 2011 -
Background
Global communication
Our modern communication offer great possibilities and enable us to reach any point in the world just by a click. To get in contact is easy, to become part of communities as well and to share interests, opinions and worries, no problem. But how does our neighborhood change during these times? City marketing and advertising determine what we get to see around us, varied codes of conduct regulate what to do and not to do. Public space has been increasingly functionalized and freed from any intimacy. We are exposing us in social networks, but we don’t find a public place with a personal touch. During the study we will use a variety of techniques and exercises to focus perception of our own personality and the surrounding. We are developing skills to communicate in a concrete way with body and actions, and transform these into a performative work.
The presentation of this study will be shown as part of the Global Communication Festival for Performance Art 2011.
Global Communication
For the second time PAS is invited by polish artist and organizer Bartosz Lukasiewicz and the center of contemporary arts Elektrownia in Radom, Poland (click here to see the documentation of PAS #11). Global Communication is an international Festival of Performance art. The focus in this year will be the notion of public spaces and site specific works.
Please check : http://tinyurl.com/3de2ao3
Application form: http://tinyurl.com/3d55awl
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13+13 performances that influenced VestAndPage...
If you'd like to know why VestAndPage are doing, what they are doing, here are 13+13 performances that influenced Verena&Andrea.
Influence means that these works opened us horizons, of our hearts, minds, and perception about what art can be and do. These are just some, and in random order. But each single one of them carries a truth that makes us carry on every day.
VERENA's 13 >
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo (Rome, Italy, 1975)
Alvaro Pereda, The Bonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Matthew Barney, Cremaster Cycle (U.S., 1994-2002)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Chris Burden, Shoot (Santa Anna CA, U.S., 1971)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
Melati Suryodarmo, Exergie - Butter Dance (Various venues, 2000-05)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Lyon, France, 2004)
Marina Abramović & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
ANDREA's 13 >
Shima, Trauma (Vitoria, Brazil, 2011)
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Yoko Ono, Cut Piece (Japan, 1964; Paris, 2003)
Ulay & Marina Abramović, Relation Work (Various Venues, 1976-79)
Ilija Šoškić, Intervention-Conversation (Belgrade, Serbia, 2010)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
Pina Bausch, Die Klage der Kaiserin (Film, Germany, 1990)
Gonzalo Rabanal, Mal decir la letra (Various venues, Chile, 2007-11)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
Melissa Garcia Aguirre, Intra Melissa (Various venues, México, 2009-11)
Snežana Golubović, I Love You (Beijing, China, 2009)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
Christoph Schlingensief, Kaprow City (Volksbühne, Berlin, Germany, 2006)
"The unattainable is still ahead of us," according to Kaprow's view: The next work of art is not yet created and always in the making. Or: "Remembering is to forget." (Hermann-Josef Schlingensief).
The artistic field of Christoph Schlingensief seems like a ramble through the arts - from filmmaker to political performance artist, theatre and opera director, actor. With his exuberant material clumps he created not only fluent boundaries between artistic genres, but de-and reconstructed imagery that soaks it all up, that resists linearity and classical narration, leaving the viewer with the feeling of being overwhelmed. For him, one is tempted to use the term "universal artist". (http://www.schlingensief.com/)
Ilija Šoškić, Latte-Seta. Energia massima tempo minimo - Sparo nel muro (Rome, Italy, 1975)
Šoškić's performance had four parts:
The first part was a pink silk cushion, placed on the floor. The artist sat on the cushion and encouraged the audience to engage in a contradictory conversation: all the arguments were simultaneously supported and refuted, including ambiguity and indifference.
In the second part he used a knife and sheath, stuck in the center of the wall, without any stories, without a "dramaturgy", and involving the public with the act of tautology (a thing is explained in itself).
The third part was a black table on which the artist invited another artist to arm wrestle (a thing is explained in itself).
For the fourth, final part the artist chooses a windowless room, placing on the floor next to the wall a bottle of milk and a loaded gun. After one hour, at half-time, the artist enters the room, takes the bottle of milk in his left hand and the gun in his right hand. He aims the weapon at the wall in front of him and fires. Then he replaces everything and leaves the room. He leaves the gallery, thereby concluding the performance.
The idea for this came from the memory of the suicide of the Russian futurist poet Mayakovsky, who shot himself in the head, leaving behind a note that said, "I wouldn't advise this to anyone."
Maximum energy-Minimum Time, Leaden Years, the revolutionary dream, utopia, reality and so many things more; the shot at the wall as the axiom of time and of art that was a sign... (http://www.mg-lj.si/node/277)
Alvaro Pereda, TheBonzo Men - Fosforritos Play (Concepcion, Chile, 2008)
Alvaro Pereda in TheBonzo Men - Forforritos Play stands in a busy square of Concepcion. With naked torso, he pours gasoline over his body. Soaked in the inflamable liquid, he keeps standing, with a lighter in his hand, half offering it to the public, half ready to alighten it. The hot sun burns the gasoline onto his skin, which in reaction turns white. People shoot photos, watch, wonder, talk. After some time, police takes Pereda away. (http://www.youtube.com/watch?v=QJ2MsWjcCfg)
Matthew Barney, Cremaster Cycle (1994-2002)
The Cremaster Cycle is an art project consisting of five feature length films, together with related sculptures, photographs, drawings, and artist's books; it is the best-known work of American visual artist and filmmakerMatthew Barney. Realized over a period of eight years (1994–2002) and culminated in a major museum exhibition organized by Nancy Spector of the Solomon R. Guggenheim Museum in New York City, which traveled to the Museum Ludwig in Cologne and the Musée d'art Moderne in Paris from 2002-03. (http://wn.com/Cremaster_4_Fashion)
Santiago Cao, Pes(o)soa de carne e osso (Salvador de Bahia, Brazil, 2010)
A performative installation held during the festival MOLA in Salvador de Bahia, Brazil, 2010, by Argentine Performance artist Santiago Cao. In this piece, Santiago set himself naked inside a fishing net, which was hanging from a huge balance-construction. On one side of the balance there was he, and on the other side, as counterweight, were hanging 60 kg of bones and beef meat. The action lasted 8 hours under the hot Brazilian sun, in the middle of a busy avenue. In his motivation, Santiago states: ”How much does flesh weigh? And how much is the weight of the person behind the flesh in a society that denies and eradicates people? In prostitution, women and men are mere objects of consumption. In business there are no people, only Human Resources. In colonial times, slaves were treated as mere commodities, not as humans.” (http://www.artistanoartista.com.ar/)
Prem Sarjo, Itro Fil Mogen (Valparaiso, Chile, 2010)
Prem Sarjo kneels down bare-chested. Someone confronts him with a small machine, which is to be used on top of the back. It is understood that the performance will be a tattoo, but the ink does not appear even though the blood dripping. What appears on the flesh are wounds, shaping the letters of three mirrored words. Sarjo stands up, but only to spin on his axis and to kneel down again. The same operation is repeated on his chest, this time the phrase is written in the right direction: Itro fil mogen.
A person approaches Sarjo. She presses a white sheet of paper on each wound. Those papers are glued on the left and right walls of the performance space, framing the action for a moment. The body breathes in silence. The scars' replica is printed in blood, even when the wounds will have disappeared.
Itro Fil Mogen, Mapuche words, translates as "Totality without Exclusion." (http://hipermedula.org/2011/04/tatuajes/)
Gisela Hochuli, About Nothing (Switzerland, 2010)
Continuous change, transformation, and dissolution of matter and the change in physicality and expression. After lighting a candle, Gisela Hochuli allows the flame to burn a thread. A second candle is lit and used to set alight sheets of tissue paper one by one. The tissue paper burns in air causing a shower of ash to fall upon the floor. Gisela Hochuli wallows in the ashes until all of it sticks to her clothes. She lights the third candle and positions herself with her back towards the audience. After searching for a rhythm within she begins to dance. Soon she turns to the audience and gives herself over to the dance. After a while she invites the audience to join in.
Chris Burden, Shoot (Santa Anna CA, US, 1971)
Burden, on November 19, 1971, in Santa Ana, California, produced a classic, or an atrocity, of conceptual art by getting shot. Shoot survives in desultory black-and-white photographs with this description: “At 7:45 p.m. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Why do such things? “I wanted to be taken seriously as an artist,” Burden explained. (http://sammybenyakoub.wordpress.com/2010/12/19/chris-burden-and-the-limits-of-art/)
Melati Suryodarmo, Exergie - Butter Dance (2000)
Suryodarmo, on a black square dance carpet, is dancing on 20 x 250 g of butter. For about 20 minutes, she falls, stands up, falls, stands up... (http://www.melatisuryodarmo.com/html/w-p/02a2.html)
Jan Fabre & Lisbeth Gruwez, Quando l'uomo principale è una donna (Biennial of Lyon, 2004)
The inspiration for this piece was the anthropometric acts by Yves Klein in which bodies were used as living paintbrushes. A female dancer moves beneath a sky full of bottles, from which olive oil first drips then gushes and splashes and finally transforms the whole stage into a reflecting bath. The musical Leitmotiv is the familiar Italian song Volare (oh-oh) by Dominic Modungo. An ode to Klein's work, and especially his photo Leap into the Void. Fabre sees the whole piece as a ritualistic preparation for the highest leap, which takes us back to the matriarchy. The strength of this solo lies in its constant shifts: from man to woman, from human to animal, from straight line to circle, from rolling, sliding movements to rising slowly upright, like a tree that grows more and more branches, like a swan that has fertilised itself. The atmosphere is summery and Italian, but the howling wind ranges from a gentle summer breeze to an approaching storm. The dancer herself also alternates ritualistic transformations with a juggler's and conjuror's tricks. Humming all the time, she plays with her gender, with balls in her trousers, on her chest or in her mouth. Before you know it an hermaphrodite becomes a sexless angel. (http://www.troubleyn.be/page.php?pageID=19&parentID=4&lingo=eng)
Marina Abramovic & Ulay, Nightsea Crossing (Variations in various venues, 1981-86)
Created after Ulay and Abramović had returned from a long period in the Australian outback, the performance work consisted of Abramović and Ulay seated in stillness and silence at a table, in one version with a Tibetan Buddhist lama and a member of the Pintubi tribe from the Central Australian Desert. Night Sea Crossing is among Abramović’s earliest tableaux pieces that layers time, presence, and mindfulness into a live collaborative moment for viewer and performer. (http://www.guggenheim.org/images/content/pdf/new_york/press/thirdmind_presskit.pdf)
Saburo Teshigawara, Bound/Absolute Zero (Film, 2002)
Absolute Zero explores the situation of complete stillness, when things can‘t move, because it is minus 273 degrees. Yet in dance and life there can‘t be complete stillness.Absolute Zero is the filming of the heartpiece of the two hour long stage version. With consequent purism the piece was adapted for the camera. The stage design is geometric: horizontal, vertical - never diagonal. Teshigawara is standing still for a considerable time. His arm lifts almost unnoticable. He seems boneless. To the minimalistic pianomusic of the Caucasian Mystic Georges I. Gurdjieff and Thomas de Hartmann, Teshigawara and his partner Kei Miyata develop their inner speed. Everything is flowing.
Bound is a parable on the laws of art, based on Ilse Aichinger’s short story Der Gefesselte. A man wakes up. He is bound. The bonds leave him room to move. He performs in a circus. A woman tries to match his movements in the bonds; she fails to seduce him. The bound man finds a wolf in the forest. In his bonds he is equivalent to the wolf. He brings him to the circus. They perform in the circus. The woman cuts the bonds. The wolf almost kills the man. The woman shoots the wolf. The man goes away.(http://www.prestoclassical.co.uk/r/Arthaus%2BMusik/101815)
Shima, Trauma (Vitoria, Brazil, 2011)
Matthew Barney & Bjoerk, Matthew Barney: No Restraint (Documentary, Japan, 2006)
How does artist Matthew Barney use 45,000 pounds of petroleum jelly, a factory whaling vessel and traditional Japanese rituals to create his latest art project? Barney plowed the waters off the coast of Nagasaki to film his massive endeavor, Drawing Restraint 9. The documentary Matthew Barney: No Restraint journeys to Japan with Barney and his collaborator Bjork, as the visual artist creates a "narrative sculpture" telling a fantastical love story of two characters that transform from land mammals into whales. (http://www.celluloid-dreams.com/library/m_r/matthew_barney_no_restraint/)
Yoko Ono, Cut Piece (Photo: Japan, 1964; Paris, 2003)
“CROWD CUTS YOKO ONO’S CLOTHING OFF!” and “YOKO ONO DOES STRIPTEASE FOR PEACE!” and “FRENCH FIGHT SHY OF YOKO’S STRIP!” sensationalized the headlines. None of the media even hinted at the deeper meaning of Yoko Ono—in the name of world peace (and perhaps a new love of life)—having allowed the crowd to cut off her widow’s weeds. Even more symbolic was the fact that Yoko Ono performed this finalé of her legendary Cut Piece in Paris, the fashion capital of the world. Instead of a dress being paraded for potential buyers, a dress was being cut to shreds. More than a demonstration for peace, world peace, but a statement against capitalism; a cry for the return to nature that would save our planet, our species. The courage Yoko displayed—considering the murder of John Lennon with her literally at his side, and the innumerable death threats she's received ever since—in daring to repeat a performance that would not only expose her throat to a potential assassin but put into the assassin’s hand a deadly weapon: a pair of well-sharpened scissors. (http://frenchcx.com/Yoko.php)
Ulay & Marina Abramovic, Relation Work (1976-79)
Gonzalo Rabanal, of the series "Mal decir la letra" (2011)
A performance that problematizes the verticality of family education and school. In the first action, Rabanal's father (grandfather) reads the “Silabario del ojo” while his childen stab with pencils and knives between his fingers. This action is recorded to be sentsimultaneously distributed monitors in the museum, in order to show details of the work to the viewer.
BBB Johannes Deimling, Don't Hurt Me (Ponteverda, Spain, 2009)
Deimling's head and hands are completely covered with patches. He lights an umbrella and walks with the burning umbrella through the streets and public places of the city Ponteverda.
(http://bbbjohannesdeimling.de/index.php?/hidden/dont-hurt-me-3--2009/)
Melissa Garcia Aguirre, Intra Melissa (five parts) (México D.F., 2009)
Intra Melissa refers to a body eager to know itself, through itself, against the dissociation and fragmentation of the body of which we are victims.
"Melissa Garcia's work investigates the precarious nature of physical life from a humble but not resigned perspective. She discovers the poetic vitality irrevocably. Her struggle and graceful and elusive presence can only arise from an extraordinary courage to face life, allowing to accept the inevitable final celebrating its tragic beauty. The celebration of the phenomena of life like physical pain, blood circulation, injury and convalescence remind us that all our poetic exist in a place called the body. That body is claimed humble and unnoticed in the work of Melissa Garcia as the essential place of all human poetry, without which they could not exist." (Eduardo Flores Castillo, http://melissacorporalidad.blogspot.com/)
Romeo Castellucci & Socieats Raffaello Sanzio, Tragedia Endogonidia (Various venues, 2002-05)
In 2001, Romeo Castellucci and Socìetas Raffaello Sanzio launched the enormous cycle ofTragedia endogonidia, a performance system that, like a living organism, transforms itself in time and space depending on the path it takes from one premiere to another through European cities, leaving from Cesena to return there, by way of Berlin, Brussels, Bergen, Paris, Rome, Strasbourg, London, Marseille and Avignon. The theme common to the 11 episodes, spread out over four years and an entire continent, is a lyricism of suffering, from which a vital energy of bodies emerges that the spectator perceives through a certain violence, but also through the experience of the movements, rhythms, colours and sounds of our contemporary world. (http://contemporaryperformance.com/2010/09/14/in-performance-romeo-castellucci-societas-raffaello-sanzio-the-divine-comedy/)
Joseph Beuys, I like America and America likes me (New York, US, 1974)
Beuys’s most famous Action took place in May 1974, when he spent three days in a room with a coyote. After flying into New York, he was swathed in felt and loaded into an ambulance, then driven to the gallery where the Action took place, without having once touched American soil. As Beuys later explained: ‘I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.’ The title of the work is filled with irony. Beuys opposed American military actions in Vietnam, and his work as an artist was a challenge to the hegemony of American art. Beuys’s felt blankets, walking stick and gloves became sculptural props throughout the Action. In addition, fifty new copies of the Wall Street Journal were introduced each day, which the coyote acknowledged by urinating on them. Beuys regularly performed the same series of actions with his eyes continuously fixed on the coyote. At other times he would rest or gather the felt around him to suggest the figure of a shepherd with his crook. The coyote’s behaviour shifted throughout the three days, becoming cautious, detached, aggressive and sometimes companionable. At the end of the Action, Beuys was again wrapped in felt and returned to the airport. (http://onlyowl.blogspot.com/2009/08/howl-at-moon.html)
Pina Bausch, Die Klage der Kaiserin (Film, 1990)
This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations, such as the woods and fields around Wuppertal, the city centre, the suspension railway, a carpet shop, a greenhouse and the rehearsal room. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. (http://contemporarydance-db.blogspot.com/2009/11/pina-bausch-die-klage-der-kaiserin.html)
James Lee Byars, The Death of James Lee Byars (Brussels, Belgium, 1994)
The alchemical marriages of death and rebirth, and materiality and perfection that formed the crux of James Lee Byars’s performances and objects reached its apotheosis in his 1994 performance The Death of James Lee Byars. Enacted three years before the artist’s death in 1997, The Death of James Lee Byars consisted of a room covered entirely in gold leaf. Byars entered the room wearing a gold lamé suit and laid down on the floor, as if to vanish into his surroundings before viewers’ eyes. The artist stated that this performance demonstrated that “death is ultimately responsible for creating outer perfection.” For Byars, death was therefore not a descent into decay and oblivion, but rather a merging with a highly aestheticized and material eternity; over and over, he created works that posited death not as an endpoint but as a beginning, that highlighted the transience of existence but also gave it enduring form. (Claire Howard, "Making it Perfect: The Alchemical James Lee Byars", http://utvac.org/sites/files/vac/content_files/greenhill-howard-s.pdf)
Herman Nitsch, 6-Day Play (Schloss Prinzendorf, Austria, 1998)
In 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at his castle in Austria, Schloss Prinzendorf. In 2004, he held an abbreviated (2-day) version of the work. All of Hermann Nitsch's previous Aktions (as he calls them) have been rehearsals towards the realization of his 6 Tage-Spiel. "The Six-Day Play is a reenactment of the story of creation," he says, "it is about the Death, and the Resurrection." After 40 years of performances, Nitsch finally reach his longtime goal with the 100th Aktion, August 3-9, 1998, held in the pastoral setting of Castle Prinzendorf, Nitsch's home for the last 30 years. Over 100 musicians played, there were marching bands, Gregorian music, church bells, and synthesizers, as an invading tank trampled onto the castle grounds to be doused with both animal blood and roses. The deaths of the three bulls during the play were offered as life for the participants. There was no hiding the fact that the meat came from the death of an animal: This is not a hamburger, this is a dead bull, and you're eating it. The death of the bull also offered an opening to a neural pathway, an excitation and affirmation of one's own state of being. (http://vienna-actionists.webs.com/hermannnitsch.htm)
Snežana Golubović, I Love You (Beijing, China, 2009)
Snežana Golubović stands in a corner of the space, equipped with a number of huge mirrors. She speaks into a microphone continously the words "I Love You". She addresses those words to herself in the mirror, to the people in the public, to passer-byes, to nobody, to everybody. The desperate mantra continues for hours, apparently emotionlessly, but provoking an entire series of sentiments. The Beijing performance ended when a girl approached Golubović saying: "I love you, too."
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Ciclo de Performances
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Performance de Ana Melo e Nuno Pinto alunos do Mestrado em Teatro
Sábado 23 de Julho 18:00
Galeria Geraldes da Silva
Rua Stº Ildefonso 225/229
4000-470 Porto
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EPAF WARSAW
EUROPEAN PERFORMANCE ART FESTIVAL
Centre for Contemporary Art Ujazdowski Castle in Warsaw, Art and the Present Foundation, Performance Art Foundation and Labirynt Gallery in Lublin invites young emerging performance artists (born after 1st January 1976) to submit proposals of performance art works for the openEPAF 2011 - open programme of the European Performance Art Festival EPAF 2011. The festival will take place from 30th September to 2nd October 2011 at the Centre for Contemporary Art Ujazdowski Castle and from 4th to 8th October in Labirynt Gallery in Lublin during Performance Platform Lublin.
EPAF is interested in programming experimental practices that may be described as: Performance Art, Live Art, Time-based art. Note: we are not interested in programming conventional theatre, dance, ballet, music. Applications will be accepted from artists from all areas of the world.
How to apply:
In order to participate in openEPAF 2011, please send us application and documentation of recent performances
I. Application should contain the following:
a) full name, postal address, website (optional), e-mail, phone number, information about education and list of the most important exhibitions or artistic projects (not more than 100 words)
b) short artistic statement (not more than 100 words)
c) short description (not more than 100 words) of proposed performance including its expected duration as well as materials and equipment required.
II. Documentation of performances:
a) 5 photographs (300 dpi, preferred formats are: tiff, jpg) recorded on CD or DVD
b) video documentation of 3-5 performances (preferred formats are: DVDVideo, avi, mov)
The documentation should be accompanied by a description containing: title, date, place and name the photographer/video-maker.
The application must be sent by email at epafwarsaw@gmail.com
Documentation must be delivered to the address:
openEPAF 2011
Galeria Labirynt
ul. Grodzka 5a
20-112 Lublin
Poland
The application and documentation must be submitted by July 30, 2011, 7:00 pm to be considered
The materials submitted will not be returned.
Succesful applicants will receive:
- board and lodging
- artists fee of 800 PLN
- financial assistance towards international travel costs
- copy of photographic and video documentation of performances presented during festival
The list of artists invited to participate in the festival will be announced 10th August 2011 at www.epaf-festival.blogspot.com
Festival is organized with financial support of: Ministry of Culture and National Heritage, City of Lublin
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epipiderme19
Lisboa, 14 de Julho, o serão com performance começa no Cais das Colunas às 18.30 com Maria dos Milagres e continua no Espaço do Urso e dos Anjos às 21h com mais 3 performances, Fabi Borges/Hilan Bensuan, Johannes Blomquist/Nathalie Mba Bikoro/Wagner Rossi Campos, Ramón Churruca e 1 concerto- performance com Presidente Drogado...
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“Sleep with me”
Projectos de artistas para o quarto da galeria
A galeria Caroline Pagès situa-se em Lisboa num apartamento de sete assoalhadas, localizado num edifício do início do século XX no bairro Campo de Ourique.
Desde a abertura da galeria, há quatro anos, uma das salas sempre foi um quarto chamado Guest Room que é, numa base regular, temporariamente ocupado por artistas visitantes da galeria, profissionais da arte e turistas. O projecto “Sleep with me” surge de uma vontade de continuar a usar este espaço como quarto mas, ao mesmo tempo, transformá-lo numa sala de exposição e um lugar para cada artista conceber uma experiência time e site specific para o público que opta por participar.
Os projectos serão realizados por artistas convidados, no qual cada um propõe um projecto único que os participantes irão experienciar por uma noite (ou várias, se eles escolherem). Cada projecto terá a duração de várias semanas para que participantes diferentes (máximo 2 pessoas ao mesmo tempo) possam reservar uma noite (ou várias) no quarto de hóspedes da galeria durante o projecto do artista. O preço para uma noite (ou um preço especial para várias noites) inclui um Certificado.
Estes projectos serão realizados paralelamente às exposições a decorrer nas outras cinco salas da Galeria.
Programação:
“Sleep with me” #1 _ Hóspede, uma performance de Susana Mendes Silva _ Maio 2011
“Sleep with me” #2 _ Miguel Palma
“Sleep with me” #1
Hóspede
uma performance de Susana Mendes Silva
O quarto para a/o hóspede da Susana não é um quarto qualquer. É um quarto dentro da galeria Caroline Pagès. Quem vem dormir à galeria vem encontrar-se com a artista e participar numa performance que só faz sentido com a pessoa que aí vai pernoitar. Em Hóspede, dormir no quarto é um motivo para criar um encontro entre pessoas que provavelmente não se conhecem.
Após a reserva do quarto, a/o hóspede e a Susana trocam correspondência por email ou por chat para combinarem o seu encontro.
No início do encontro tiram uma polaroid: um auto-retrato de ambas(os). Depois juntas(os) irão realizar algo que só será revelado na altura. No final do seu encontro, e antes da despedida, voltam a tirar outra polaroid em conjunto.
Ao chegar ao quarto a/o hóspede encontrará uma surpresa.
Quando fizer o check-out, a/o hóspede ficará com as polaroids para si, que serão o único registo do seu encontro.
Notas:
- cada performance é única e pensada especialmente para a/o hóspede,
- a performance pode ser suspensa a qualquer momento se a/o hóspede ou a artista não se sentirem confortáveis,
- a performance não será gravada.
O Preço inclui:
- 1 Noite no quarto da galeria (equipado com uma cama de casal sendo que a casa de banho da galeria, a cozinha e a varanda são para uso exclusivo dos hóspedes)
- Performance da artista Susana Mendes Silva, que inclui 2 polaroids assinadas e datadas pela artista, um Certificado da performance e uma surpresa da artista.
P.V.P. 225 €
Datas durante as quais é possível reservar uma noite: todo o mês de Maio.
Para reservas é favor entrar em contacto com a galeria:
Caroline Pagès Gallery
Rua Tenente Ferreira Durão, 12 – 1º Dto.
[Campo de Ourique]
1350-315 Lisboa, Portugal
Tel. [+351] 21 387 33 76
Tm. [+351] 91 679 56 97
gallery@carolinepages.com
www.carolinepages.com
Aberto ao público de 2ª a Sábado das 15h às 20h e por marcação fora deste horário.
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epipiderme17 - 14 de Abril (21H)
No Espaço do Urso e dos Anjos
Rua Palmira nº 5 r/c Dto, Metro Intendente - Lisboa
Performance:
Isabel León (Espanha)
S/ título Duração: 30´
O trabalho de Isabel León evoluiu desde a fotografia o vídeo até à performance, meio a que se dedica hoje de forma quase exclusiva. Pensa as suas performances, como um acto ligado à vida, as suas peças precisam obrigatoriamente de manter a sinceridade; assim como estar conectadas com os seus sentimentos, pensamentos e emoções mais intimas.
Dentro das práticas da performance, interessa-se especialmente pela interacção com o publico, como este contribui para que a obra exista. Faz do publico protagonista da sua obra, a suas performances são austeras quanto ao uso de meios técnicos e materiais.
Rita Rodríguez (Espanha)
“Performance clássica à maneira tradicional” Duração: 20´
Esta acção a apresentar no encontro epipiderme17, é apresentada pela segunda vez, a primeira apresentação teve lugar no Festival de performance em Pontevedra, Chamalle X.
Esta performance joga com os cruzamentos entre espaço publico e privado, pretende reflectir sobre a questão do uso do corpo, nu, em performance e com a ideia, tabu, do corpo nu em espaço público.
O trabalho de Rita Rodríguez toca várias vertentes desde o vídeo, à instalação, à performance.
A artista parece ter como manifesto geral nas suas propostas- “a tenção gerada entre a essência irracional do ser humano e as pautas sociais, a qual emana um equilíbrio instável que permite alcançar uma “sublimação” agradável” desta forma utiliza muitas vezes o jogo social face ao sistema, ao qual diz pertencer e desde dentro deste, de forma cúmplice experimenta a ironia. Trabalha com materiais simples, esclarece “com os que tem mais à mão” e muitas vezes com a participação do publico.
Vídeo- performance:
BBB Johannes Deimling (Alemanha)
“D-249736810” Duração: 17´
“D-249736810” é um vídeo registo de uma performance realizada em Telavive em 2007, Israel.
BBB Johannes Deimling 1969, desde 1988 trabalha com performance art, vídeo, objecto, instalação, desenho e música; tendo focando-se especialmente na performance como forma de expressão, sendo o seu trabalho internacionalmente reconhecido.
O artista cria imagens vivas, que transforma em símbolos pictóricos. Baseia as suas propostas num momento que se quer incisivo catalizador de uma realidade tangível, solidificada - no momento de apresentação constitui-se uma imagem, muitas vezes com foco na realidade quotidiana ou em situações de conflito social.
Para BBB Johannes Deimling a escolha do meio a performance é uma escolha que implica um valor social e artístico, esta escolha orienta o fazer artístico mais para uma pratica de auto-relação com a vida e o quotidiano, do que o sentido de uma arte criada para um espaço de memória e do museu, para ele é uma prática radical e honesta de construção de sentido, dentro das artes visuais, onde a criação de uma obra de arte, a sua apresentação, recepção e reflexão unem-se num só momento.
*Por motivos de ordem técnica “Caminho de Bicho” de Paulo Morais não se vai realizar neste Epipiderme, pedimos imensas desculpas.
epipiderme
Encontros à volta da performance
Sede (mudança de morada): Rua do Terreirinho 63, 1º DT 1100-596 Lisboa Portugal
epipiderme@gmail.com | http://epipiderme.blogspot.com | +351 95758183
___________________________
A partir de uma ideia original de: Nuno Oliveira, Fabrice Ziegler, Margarida Chambel e Carlos Farinha
Rua da Palma 219, 5º ESQ | 1100-391 Lisboa Portugal | +351 915 758 183
Agora num novo espaço: Espaço do Urso e dos Anjos
Rua Palmira nº 5 r/c Dto, Metro Intendente - Lisboa
Programa 24 de Fevereiro 2011 (21H30)
Performance:
Ana Rita Teodoro, Tito Pires e Zé Dinis juntam-se ao colectivo BU (Portugal)
“Poertário/ Libersia” Duração: 20´
Esta proposta tem o seu centro na palavra, através da Poesia e da Acção, é um trabalho híbrido onde se conjugam corpo e movimento numa interpretação das mudanças dos sons e do discurso.
Toda a performance se fará como forma de interacção com uma instalação, onde as palavras saltam do uso comum da escrita para o espaço, as paredes o tecto.
O grupo activa um mecanismo, um experimento, que visa, segundo os mesmos, a reflexão sobre o poder da palavra, sobre as palavras como organismos vivos, reorganizadas pelos indivíduos em tempo real, adquirindo um carácter único, um tempo onde a literatura é reinventada.
Ana Rita Teodoro tem formação em dança, Tito Pires, Zé Dinis apresentam-se como músicos, unindo-se em torno da proposta do colectivo BU, grupo que trabalha desde a poesia concreta a poesia visual.
Antoine Reynaud (França)
“Source: No signal” Performance para uma escultura Duração: 30´
A ideia do autor parece ser procurar uma forma de expor, trazer para exposição, objectos plásticos, esculturas, uma instalação, revelando o que existe neste acto de futilidade e de drama existencial ao mesmo tempo. Pode observar-se isto na forma como usa os materiais, como uma parafernália ilógica, objectos distribuídos obrigatoriamente ao acaso, fragmentos da realidade e matéria decorativa.
Usa papeis de embrulho e outros objectos quotidianos construindo na sua lógica coerente um cataclismo ainda bonito.
GAS Barthély, comentando o trabalho plástico de Antoine Reynaud, frisa que este tem especial interesse pela manufactura de artefactos e objectos, realçando nas suas instalações e performances o ciclo de produção e transformação desses mesmos objectos.
A performance a realizar remete para este processo de construção deste habitat estranho, festa lunar, entre o levemente falso o épico, o trágico e o corrompido.
Bernardo Rodrigues (Portugal)
“colagem ralex” Duração: indeterminada´
Esta é uma performance com dois interpretes, Sofia Silveira acompanha Bernardo Rodrigues na sua acção.
A proposta é uma experiência aberta em que será dada ao público o mote para experimentar, “ingredientes diferentes numa mesma engrenagem”.
Através de leituras justa-postas de diferentes livros e sobreposição de músicas contrastantes, tendo como critérios a espontaneidade e o acaso, os interpretes começaram um caminho de subtilezas.
Um ambiente indeterminado, entre acção e a descontracção/ distracção, entre o pensamento e o não pensado, entre a arte e o que não se sabe se é arte.
Para justificar este acto que poderá parecer displicente Bernardo Rodrigues comenta, num escrito sobre a proposta, que lhe interessa questionar o lugar da obra de arte, não no que respeita ao seu lugar no museu mas com respeito ao seu carácter, aponta com referência a esta questão, que se a obra de arte é sagrada deve ser venerada e fruída com elevação, de forma a atingir-se um patamar superior de compreensão, mas também refere que se a obra de arte é trivial, deve ser realmente tratada por tu, estar ao alcance de todos, ser usada e reproduzida várias vezes, ser experimentada e misturada com a vida, estar num lugar ruidoso...
Leitura colectiva:
Cristina Ribas (Brasil)
Duração: 20´
A artista investigadora de processos colectivos no Brasil, de redes de colaboração e práticas de ensino na arte contemporânea, vai expor-nos um pouco a sua investigação no contexto brasileiro, a modo de leitura colectiva ou acção diagrama.
Desenvolve no âmbito da Pesquisa, o Arquivo de emergência, desde 2005, um arquivo público de documentos de arte contemporânea, arquivo que desenvolve diferentes parcerias com projectos conduzidos pelas mesmas preocupações estético/ políticas.
Entre outros projectos desenvolve também um projecto de residência artística com Beatriz Lemos que dá pelo nome de Pedregulho, é uma projecto interdisciplinar, acompanhado por críticos, arquitectos, urbanistas e história de arte, acontece no complexo urbanístico do Pedregulho, no Rio de Janeiro.
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Performance:
Yolanda Pérez Herreras (Espanha)
s/ título Duração: 20´
Mais uma vez através do apoio de Acción!MAD, temos a oportunidade de receber uma artista de Espanha.
Yolanda é Poeta e muito do seu trabalho incide na poesia fonética e na poesia visual. A proposta que irá apresentar deverá, como muitas peças de poesia concreta, ter esta componente em que a narrativa oral dará lugar ao uso de objectos, ou como algumas propostas suas, como happenings, espera-se o descobrir de sentidos através da interacção com o publico, criando-se “frases”, acções visuais e sensações.
Começa a sua actividade como performer em 1994. Edita várias revistas de criação poética “experimenta…”, “Alabastro”. Coordena os encontros de poesia e acção “VEN Y VINO” na Galeria EL Mono de la Tinta e também um dos maiores festivais de performance em Espanha, Acción!MAD 2010 em Madrid.
Performance Simultânea
Duração: 60´
Angel Herrero (Espanha)
Andrea Inocêncio (Portugal)
Maria dos Milagres (Portugal)
Nuno Oliveira (Portugal)
Margarida Chambel (Portugal)
Patrícia Filipe (Portugal)
http://www.anapatriciafilipe.blogspot.com/
Esta é uma experiênia de simultaneidade entre um grupo de perfomers, que também organiza este evento.
A ideia seria desenvolver um trabalho onde a atenção do espectador será repartida por diferentes centros, neste acontecimento colectivo, a construção de sentido não seria só conduzida em relação ao publico, o performer será também espectador e criador, o publico poderá ir, de forma não linear, construindo a sua própria história através das várias construções.
O artista Boris Nieslony chama a esta prática a Arte do Encontro e parece focar a proposta, de forma abrangente na questão de que, para estabelecer uma relação de simultaneidade com um dado contexto, é preciso abrir-se a ele com o que tem de complexo e ambíguo, cortando-se com o hábito como mecanização dos gestos, da percepção. Uma das formas disto acontecer é evitando a dicotomia espectador/ artista, quebrando-se com uma leitura fácil e complexificando o que são os tempos de expressar, agir e escutar. Este espaço de diálogos é deixado aberto a um processo intuitivo colectivo, na procura de se desvelar num contexto um campo subjectivo antes escondido.
Vídeo-performance:
Melodie Duschesne (França)
DURAÇÃO: 10´
Tiarma Sirat (Indonésia)
DURAÇÃO: 5
Com este apartado mostramos duas performances, que têm a especificidade de interagirem com espaços museológicos, duas abordagens completamente diferentes, uma mais de confronto com este espaço, onde a performer se veste de mulher aranha, objecto de cultura popular e de forma um pouco provocadora quetiona aquele espaço como espaço de transcendência, outra mais escultórica na forma como se constroem fatos para os performers, apresentando-se como uma proposta na fronteira entre a performance e a moda, questionando os limites do que pode ou não ser considerado performance.
___________________
Performance:
Fernando Baena (Espanha)
”Uma Acção Negativa” Duração: 15´
Fernando Baena é um artista visual em sentido lato, trabalha desde a escultura, a pintura, a instalação ao vídeo e à performance, cada projecto concreto apela a um meio, em Lisboa fará uma “Acção Negativa”. Diz desta, que, não vai ficar nu, nem física, nem espiritualmente. Que não vai dar uma conferência. Que não vai declamar poesia, nem fonética, nem visual nem de outro tipo. Que não vai escrever ou mostrar. Não vai cantar nem sussurrar. Nem gritar. Não vai bailar nem correr, nem em geral realizar um esforço ou proeza física nem
mental, nem mostrar nenhuma habilidade especial. Não vai pedir colaboração ou participação de assistentes. Não vai provocar feridas nem manchas, nem nos outros nem nele próprio. Não vai dar beijos nem abraços. Não vai mostrar relações e/ou usos inusuais entre objectos e/ou pessoas. Não vai utilizar alta nem baixa tecnologia. Não vai utilizar as três direcções do espaço nem os três tempos nem os quatro elementos... Diz que não vai fazer não fazer nada.
Kiki Taira (Japão)
s/ titulo Duração: 45´
Kiki Taira é uma artista Japonesa que vive em Londres, diz da sua forma de investigar o meio, a performance, que se interessa pela acção enquanto decisão espontânea. Investiga a construção ritualística e os costumes de diferentes culturas e crenças. Entende construção ritualística como forma de auto-superação; superar dentro de si esta sociedade oprimida.
Estuda o comportamento e a superstição de forma a encontrar um espaço de abstracção em que a realidade acaba por perder o seu manifesto de verdade, sublimada através de pensamentos ilógicos.
Em Londres fundou o projecto ArtEvict (2009), uma plataforma aberta para artistas afirmados e emergentes no campo da performance, explorando limites comportamentais e de experiência como veículos de expressão.
Maria dos Milagres (Portugal)
“ARAME = ARA + ME” Duração: 90´(em simultâneo)
Maria dos Milagres, vive e trabalha entre Lisboa e Bruxelas, nas suas performances pretende suscitar
questionamento, leva esta tarefa à prática estimulando os presentes na acção a entrarem numa realidade especifica inusitada.
Decompõem alguns elementos do seu próprio quotidiano, transformados numa espécie de símbolo
obsessivo, para que se expresse como ideia tornada realidade plástica.
O seu ensaio acção apela a um lugar de reencontro entre mundos diferentes, onde o ajustamento da vida é feito pelo deslocamento do espaço físico e mental, entre o absurdo, o sonho e a tragédia.
Gloria Sanvciente Amor e Nahuel Losada (Espanha)
“AM 4 YOU”* Duração: 90´(em simultâneo)
Gloria trabalha como actriz, encenadora e artista plástica, interessa-se sempre em cruzar a investigação artística com a própria vida
Nesta proposta, explora a problemática do Feminino, a mulher tornada objecto, jogo de criança, a mulher como refugio para a solidão.
O dispositivo proposto é criar uma mulher que apresenta características diferentes à medida que se vai transvestindo, de forma a agradar e ser aceite, uma mulher apresentada como corpo que se dá a dançar.
Diz que tudo irá acontecer numa conversação intima com o espectador onde não serão precisas palavras nem promessas; porque para ela as palavras e as promessas são culpadas pela morte dos sentimentos.
* CONVITE - 18 de Dezembro às 21h
+Performance Gloria Sanvciente Amor e Nahuel Losada
“AM 4 YOU”
no Bacalhoeiro. Colectivo Cultural
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12º Encontro (17-11-2010)
Programa 17 de Novembro de 2010 (21H30)
Performance:
Roxana Popelka
(Espanha)
“Sem musica de baile”
Agora num novo espaço: Espaço do Urso e dos Anjos
Rua Palmira nº 5 r/c Dto, Metro Intendente - Lisboa
Antoine Reynaud (França)
Programa 24 de Fevereiro 2011 (21H30)
Performance:
Ana Rita Teodoro, Tito Pires e Zé Dinis juntam-se ao colectivo BU (Portugal)
“Poertário/ Libersia” Duração: 20´
Esta proposta tem o seu centro na palavra, através da Poesia e da Acção, é um trabalho híbrido onde se conjugam corpo e movimento numa interpretação das mudanças dos sons e do discurso.
Toda a performance se fará como forma de interacção com uma instalação, onde as palavras saltam do uso comum da escrita para o espaço, as paredes o tecto.
O grupo activa um mecanismo, um experimento, que visa, segundo os mesmos, a reflexão sobre o poder da palavra, sobre as palavras como organismos vivos, reorganizadas pelos indivíduos em tempo real, adquirindo um carácter único, um tempo onde a literatura é reinventada.
Ana Rita Teodoro tem formação em dança, Tito Pires, Zé Dinis apresentam-se como músicos, unindo-se em torno da proposta do colectivo BU, grupo que trabalha desde a poesia concreta a poesia visual.
Antoine Reynaud (França)
“Source: No signal” Performance para uma escultura Duração: 30´
A ideia do autor parece ser procurar uma forma de expor, trazer para exposição, objectos plásticos, esculturas, uma instalação, revelando o que existe neste acto de futilidade e de drama existencial ao mesmo tempo. Pode observar-se isto na forma como usa os materiais, como uma parafernália ilógica, objectos distribuídos obrigatoriamente ao acaso, fragmentos da realidade e matéria decorativa.
Usa papeis de embrulho e outros objectos quotidianos construindo na sua lógica coerente um cataclismo ainda bonito.
GAS Barthély, comentando o trabalho plástico de Antoine Reynaud, frisa que este tem especial interesse pela manufactura de artefactos e objectos, realçando nas suas instalações e performances o ciclo de produção e transformação desses mesmos objectos.
A performance a realizar remete para este processo de construção deste habitat estranho, festa lunar, entre o levemente falso o épico, o trágico e o corrompido.
Bernardo Rodrigues (Portugal)
“colagem ralex” Duração: indeterminada´
Esta é uma performance com dois interpretes, Sofia Silveira acompanha Bernardo Rodrigues na sua acção.
A proposta é uma experiência aberta em que será dada ao público o mote para experimentar, “ingredientes diferentes numa mesma engrenagem”.
Através de leituras justa-postas de diferentes livros e sobreposição de músicas contrastantes, tendo como critérios a espontaneidade e o acaso, os interpretes começaram um caminho de subtilezas.
Um ambiente indeterminado, entre acção e a descontracção/ distracção, entre o pensamento e o não pensado, entre a arte e o que não se sabe se é arte.
Para justificar este acto que poderá parecer displicente Bernardo Rodrigues comenta, num escrito sobre a proposta, que lhe interessa questionar o lugar da obra de arte, não no que respeita ao seu lugar no museu mas com respeito ao seu carácter, aponta com referência a esta questão, que se a obra de arte é sagrada deve ser venerada e fruída com elevação, de forma a atingir-se um patamar superior de compreensão, mas também refere que se a obra de arte é trivial, deve ser realmente tratada por tu, estar ao alcance de todos, ser usada e reproduzida várias vezes, ser experimentada e misturada com a vida, estar num lugar ruidoso...
Leitura colectiva:
Cristina Ribas (Brasil)
Duração: 20´
A artista investigadora de processos colectivos no Brasil, de redes de colaboração e práticas de ensino na arte contemporânea, vai expor-nos um pouco a sua investigação no contexto brasileiro, a modo de leitura colectiva ou acção diagrama.
Desenvolve no âmbito da Pesquisa, o Arquivo de emergência, desde 2005, um arquivo público de documentos de arte contemporânea, arquivo que desenvolve diferentes parcerias com projectos conduzidos pelas mesmas preocupações estético/ políticas.
Entre outros projectos desenvolve também um projecto de residência artística com Beatriz Lemos que dá pelo nome de Pedregulho, é uma projecto interdisciplinar, acompanhado por críticos, arquitectos, urbanistas e história de arte, acontece no complexo urbanístico do Pedregulho, no Rio de Janeiro.
___________________________
Performance:
Yolanda Pérez Herreras (Espanha)
s/ título Duração: 20´
Mais uma vez através do apoio de Acción!MAD, temos a oportunidade de receber uma artista de Espanha.
Yolanda é Poeta e muito do seu trabalho incide na poesia fonética e na poesia visual. A proposta que irá apresentar deverá, como muitas peças de poesia concreta, ter esta componente em que a narrativa oral dará lugar ao uso de objectos, ou como algumas propostas suas, como happenings, espera-se o descobrir de sentidos através da interacção com o publico, criando-se “frases”, acções visuais e sensações.
Começa a sua actividade como performer em 1994. Edita várias revistas de criação poética “experimenta…”, “Alabastro”. Coordena os encontros de poesia e acção “VEN Y VINO” na Galeria EL Mono de la Tinta e também um dos maiores festivais de performance em Espanha, Acción!MAD 2010 em Madrid.
Performance Simultânea
Duração: 60´
Angel Herrero (Espanha)
Andrea Inocêncio (Portugal)
Maria dos Milagres (Portugal)
Nuno Oliveira (Portugal)
Margarida Chambel (Portugal)
Patrícia Filipe (Portugal)
http://www.anapatriciafilipe.blogspot.com/
Esta é uma experiênia de simultaneidade entre um grupo de perfomers, que também organiza este evento.
A ideia seria desenvolver um trabalho onde a atenção do espectador será repartida por diferentes centros, neste acontecimento colectivo, a construção de sentido não seria só conduzida em relação ao publico, o performer será também espectador e criador, o publico poderá ir, de forma não linear, construindo a sua própria história através das várias construções.
O artista Boris Nieslony chama a esta prática a Arte do Encontro e parece focar a proposta, de forma abrangente na questão de que, para estabelecer uma relação de simultaneidade com um dado contexto, é preciso abrir-se a ele com o que tem de complexo e ambíguo, cortando-se com o hábito como mecanização dos gestos, da percepção. Uma das formas disto acontecer é evitando a dicotomia espectador/ artista, quebrando-se com uma leitura fácil e complexificando o que são os tempos de expressar, agir e escutar. Este espaço de diálogos é deixado aberto a um processo intuitivo colectivo, na procura de se desvelar num contexto um campo subjectivo antes escondido.
Vídeo-performance:
Melodie Duschesne (França)
DURAÇÃO: 10´
Tiarma Sirat (Indonésia)
DURAÇÃO: 5
Com este apartado mostramos duas performances, que têm a especificidade de interagirem com espaços museológicos, duas abordagens completamente diferentes, uma mais de confronto com este espaço, onde a performer se veste de mulher aranha, objecto de cultura popular e de forma um pouco provocadora quetiona aquele espaço como espaço de transcendência, outra mais escultórica na forma como se constroem fatos para os performers, apresentando-se como uma proposta na fronteira entre a performance e a moda, questionando os limites do que pode ou não ser considerado performance.
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Performance:
Fernando Baena (Espanha)
”Uma Acção Negativa” Duração: 15´
Fernando Baena é um artista visual em sentido lato, trabalha desde a escultura, a pintura, a instalação ao vídeo e à performance, cada projecto concreto apela a um meio, em Lisboa fará uma “Acção Negativa”. Diz desta, que, não vai ficar nu, nem física, nem espiritualmente. Que não vai dar uma conferência. Que não vai declamar poesia, nem fonética, nem visual nem de outro tipo. Que não vai escrever ou mostrar. Não vai cantar nem sussurrar. Nem gritar. Não vai bailar nem correr, nem em geral realizar um esforço ou proeza física nem
mental, nem mostrar nenhuma habilidade especial. Não vai pedir colaboração ou participação de assistentes. Não vai provocar feridas nem manchas, nem nos outros nem nele próprio. Não vai dar beijos nem abraços. Não vai mostrar relações e/ou usos inusuais entre objectos e/ou pessoas. Não vai utilizar alta nem baixa tecnologia. Não vai utilizar as três direcções do espaço nem os três tempos nem os quatro elementos... Diz que não vai fazer não fazer nada.
Kiki Taira (Japão)
s/ titulo Duração: 45´
Kiki Taira é uma artista Japonesa que vive em Londres, diz da sua forma de investigar o meio, a performance, que se interessa pela acção enquanto decisão espontânea. Investiga a construção ritualística e os costumes de diferentes culturas e crenças. Entende construção ritualística como forma de auto-superação; superar dentro de si esta sociedade oprimida.
Estuda o comportamento e a superstição de forma a encontrar um espaço de abstracção em que a realidade acaba por perder o seu manifesto de verdade, sublimada através de pensamentos ilógicos.
Em Londres fundou o projecto ArtEvict (2009), uma plataforma aberta para artistas afirmados e emergentes no campo da performance, explorando limites comportamentais e de experiência como veículos de expressão.
Maria dos Milagres (Portugal)
“ARAME = ARA + ME” Duração: 90´(em simultâneo)
Maria dos Milagres, vive e trabalha entre Lisboa e Bruxelas, nas suas performances pretende suscitar
questionamento, leva esta tarefa à prática estimulando os presentes na acção a entrarem numa realidade especifica inusitada.
Decompõem alguns elementos do seu próprio quotidiano, transformados numa espécie de símbolo
obsessivo, para que se expresse como ideia tornada realidade plástica.
O seu ensaio acção apela a um lugar de reencontro entre mundos diferentes, onde o ajustamento da vida é feito pelo deslocamento do espaço físico e mental, entre o absurdo, o sonho e a tragédia.
Gloria Sanvciente Amor e Nahuel Losada (Espanha)
“AM 4 YOU”* Duração: 90´(em simultâneo)
Gloria trabalha como actriz, encenadora e artista plástica, interessa-se sempre em cruzar a investigação artística com a própria vida
Nesta proposta, explora a problemática do Feminino, a mulher tornada objecto, jogo de criança, a mulher como refugio para a solidão.
O dispositivo proposto é criar uma mulher que apresenta características diferentes à medida que se vai transvestindo, de forma a agradar e ser aceite, uma mulher apresentada como corpo que se dá a dançar.
Diz que tudo irá acontecer numa conversação intima com o espectador onde não serão precisas palavras nem promessas; porque para ela as palavras e as promessas são culpadas pela morte dos sentimentos.
* CONVITE - 18 de Dezembro às 21h
+Performance Gloria Sanvciente Amor e Nahuel Losada
“AM 4 YOU”
no Bacalhoeiro. Colectivo Cultural
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Roxana Popelka (Gijón, 1966), traça o seu percurso artístico desde a literatura, vindo mais tarde, de forma paralela, a executar trabalhos no âmbito da performance.
As suas acções partem da simplicidade e da fragmentação, apropriam-se da aparente banalidade dos momentos quotidianos para revalorizarem essas mesmas parcelas da realidade; esses mesmos momentos voltam tocados, sensibilizados com a sua presença.
A performance que vai mostrar em Lisboa nas palavras da mesma é construída a partir de diferentes sequências onde utiliza como base rítmica o conceito de esforço físico, combina esta acção com a recitação de texto.
Maíra Vaz Valente
(Brasil)
“Entre as formas dissolvidas do desejo”
Maira Vaz Valente trabalha a performance desde uma perspectiva plástica e de relação com o espaço, nos seus trabalhos, a exploração do espaço físico relacionado com o tempo e o corpo é um tema recorrente, a construção poética das suas acções, têm implicado sempre a presença de uma audiência e algumas vezes trabalha directamente com o publico em ambientes happening.
Maira é também uma das responsáveis pela criação do NAP Núcleo Aberto de Performance, que visa incentivar o desenvolvimento da pesquisa e ensino da historia da Performance. Tendo também incentivado o aparecimento da disciplina Práticas Performativas, que foi construído cruzando o ensino de Artes Plásticas com Artes Cénicas na Universidade de São Paulo.
Nesta performance convidará o publico a interagir com um objecto que pode ser manipulado, construindo uma experiência performática conjunta, aos participantes ser-lhes-à dado algumas direcções, as pausas e os ritmos do publico que assiste e participa na proposta será a trama que resolverá este momento de encontro.
Henrik Hedinge
(Suecia)
“GenderFlux”
Esta proposta GenderFlux ensaia a temática de Género.
Henrik Hedinge nesta acção foca a questão de como o uso de comunicação à escala global por internet redes sociais, altera o corpo de desejo de cada um, de como esta velocidade também pode alterar a forma como as pessoas resolvem a sua personalidade interagindo com personagens múltiplas, relativizando identidade e género.
Para o performer o estimulo da comunicação é tão fugaz que já nem existe tempo para a mudança de género, o que existe é metamorfoses constantes, fluxos de género que ele denomina de GenderFlux.
Na performance irá trabalhar com a manipulação da ideia de género de forma plástica, usará o seu próprio corpo como forma transformável e com a interactividade face a este corpo, com ajuda do publico.
Tem executado os seus trabalhos em vários locais da Europa ao Continente Americano, desdobrando-se também enquanto personagem transformista nómada.
Bean
(England)
Esta proposta GenderFlux ensaia a temática de Género.
Henrik Hedinge nesta acção foca a questão de como o uso de comunicação à escala global por internet redes sociais, altera o corpo de desejo de cada um, de como esta velocidade também pode alterar a forma como as pessoas resolvem a sua personalidade interagindo com personagens múltiplas, relativizando identidade e género.
Para o performer o estimulo da comunicação é tão fugaz que já nem existe tempo para a mudança de género, o que existe é metamorfoses constantes, fluxos de género que ele denomina de GenderFlux.
Na performance irá trabalhar com a manipulação da ideia de género de forma plástica, usará o seu próprio corpo como forma transformável e com a interactividade face a este corpo, com ajuda do publico.
Tem executado os seus trabalhos em vários locais da Europa ao Continente Americano, desdobrando-se também enquanto personagem transformista nómada.
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Intrafluxus
Workshop de performance por Maíra Vaz Valente
Práticas performativas na paisagem urbana e aspectos específicos da história recente da arte contemporânea brasileira em espaço público.
+info: epipiderme@gmail.com