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- What You Know from How I Move (…) – IF I CAN’T DANCE
The gleanings are shared in Open Reading Groups guided by guests, and unpacked in conversations with local practitioners on Radio Emma. Finally, Readers document this dynamic and collaborative research. Lives in Amsterdam and Berlin is an artist and performer whose personas in art history, folklore and myth are invested in questions related to the contemporary conditions of women. The making of her first feature film extends her interest in rituals that accompany stages of life.
Lives in Joshua Tree and Los Angeles uses meditative, durational, theatrical and actionist modes of performance to engage the energetic as a potential material in live work. She creates a new theatre performance in which she focusses on telepathic techniques to move matter. The audience is seated astride a sort of catwalk with a sword at one end. Lives in Amsterdam is a painter, body artist and perfume collector indebted to various forms and permutations of intersectional feminist and queer art.
He and his collaborators dig through, order and archive the full inventory of his studio as a durational performance over a one-year period. What is trashy but valuable? In connection to a year-long studio residency they engage in the tension between value and archive as organizing principle with Associate Professor of Conservation and Museum Studies at Maastricht University, Vivian van Saaze.
Here, he shares on his multimedia practice, concentrating on its early beginnings in , in a slide show that makes clear his reliance on feminist figures like Carolee Schneeman, Hannah Wilke and Adrian Piper. He then dances before a dual projection — a. Black Revelry Quiet Storm, 3. Frequency: Return. Carter as late-night DJ explores different modes of storytelling, focussing on one key term in each episode: gathering December , dispersal January and frequency February Black Revelry Quiet Storm, 2.
Dispersal: This groove is long, slow, and winding. Stretch, expand, and linger. Civitanova Marche, Italy. Lives in Amsterdam is a curator, writer and educator with a background in theatre studies and semiotics. In questioning how performativity unsettles categorisation and the knowledge that emerges, she focusses on actor, author and director Carmelo Bene b. Lives in Nalliers, Nouvelle Aquitaine, France is a writer who began publishing in the early s. Her poetry considers the political energies and pressures that shape language as an aesthetic object and a record of historical desire.
She furthers her study of troubadour language as a phenomenon in which voice and text constitute each other. The researcher shifts registers between poetry and academic study in examining rhyme and voice among medieval troubadours — the first European poets to write in their spoken regional vernacular — in the Languedoc region.
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Her outline of voice and vernacular as a space where power is constantly renegotiated and reconfigured is punctuated by readings from her poetry. How do ritualistic practices and modes of display contribute to discussions on performance and performativity, while resisting traditional forms of visual consumption? Following the idea that rituals have participants instead of observers, a collaborative platform is generated for study and expanded activities.
Lives in London and Amsterdam , whose work embraces magic, evocation and invocation. Supported by an underlying interest in healing rituals, the piece beautifully untangles how ritual makes oneself present to oneself. The magic in everyday reality — clear in the two issues of Womens Work , the first publication of performance scores by women including Pauline Oliveros — remains a concentration among the readings. Special thanks to Irene Revell for sharing Womens Wor k and suggesting we experiment with the scores.
How can the prophetess magnetize the future? How can silence be transformed into language and action? We look into instances where natural elements are used to divine the future and volcanic eruptions forebode the apocalypse while exposing the limits of rational thinking. Finally, the Oracle for a Reading Group by artist and researcher Hestia Peppe sees each of us become querent and oracle, questioning the agency of both and letting ourselves go. Giulia Damiani introduces her work on Le Nemesiache and their extensive performance activity in Naples.
The radio programme unpacks key terms from our research into Ritual and Display with invited local guests from various disciplines and practices. How does display complicate the way objects and practices are perceived? What constitutes display, especially when it is the public showing of performative and ritual-based practices?
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The resurgence of interest in ancient traditions and alternative systems of knowledge is coupled with an urgent need to rethink collections resulting from Western colonial displacement. Yet displacement can also be generative for artists, addressing intergenerational knowledge and finding new shapes. How does one engage with rituals in daily life? What is the state of ritual practices in Amsterdam? When you hear the word ritual, what do you think of?
In this part of the world, traditional religious ceremonies and national rituals are losing momentum. That said, ritual-associated practices and ancient knowledges figure extensively in artistic and cultural contexts. With change at its core, can ritual bring societal change? Full programme. Special thanks to Le Nemesiache. Opening weekend, exclusively upon registration, 23, 24, 25 October 14— Please note: in keeping with the new Covid measures, effective from 5 November onwards, the coming two weeks the exhibition will be closed.
The reader, with a selection of texts pulled from the Reading Group, is published in the spring of Lives in Beirut and Zutphen, The Netherlands traces the movement of stories to reflect upon her personal history and those of the people she encounters in order to consider how social and political themes are grounded in daily life.
Here, she creates a new experimental documentary in collaboration with four women affected by the Syrian war. This documentary follows the personal discussions, people and places related to four women originally from Lebanon and Syria: Waad, Hanin, Rogine and Zeina.
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In their new cities, they face questions about the meaning of their cultures, family and political visions. Is exile a choice or an accident?
What is home? How do we behave in our new countries? Be present and patient with yourself. Instead of trying to explain the work, let the performance work on you. Allow it to build memories, real and imagined. Let it hum through you. Writes d. It is like witnessing someone dream, but with more consciousness. While observing, it is clear that for some people the experience is not so easy, in contrast to the open curiosity I felt.
What You Know from How I Move (…) – IF I CAN’T DANCE
During library opening hours, beholders are ushered into a hall and invited to lie down, close their eyes and immerse themselves in a collective tactile experience. Surrounded by blankets, pillows, fabrics, stones and other objects, performers weave a non-verbal narrative between bodies using touch and sound. Feelings and imagination, states of sleep and wakefulness, may blur to enable a different regime of images to appear. Each session accommodates ten beholders, who may then watch the following session. An art project that questions the usual patterns of attention. A publication details the experience.
An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?
Participants are asked to bring a text they consider feminist and an object or fabric with interesting tactile or sound properties. One of a series of public meetings putting into practice the research about attention, sensation and perception conducted during her three-month residency at La Ferme du Buisson.
Through various immersive devices that provoke encounters between choreographic artists and spectators, Lefkowitz creates the conditions for an increased perceptual experience through the use of gaze, touch, walking and liminal states between sleep and waking.
Lives in Glasgow works with sculpture, writing and moving image of which its ever-evolving formats are inextricably bound to the autobiographical content of her work. Her recent videos set up complex tensions between the body, landscape, identity and time. The new single-channel film explores what happens to the coded signifiers of queer bodies within uninhabited wildernesses.
SaF05 is the name of a maned lioness, a cipher for queer attachment and desire. The artist intersects a database of behaviours and camera-trap footage of SaF05, the last of several maned lionesses documented in the Okavango Delta, with autobiographical fragments that fluctuate between proximity and distance.