EVENTS

18h30

Galerie é uma galeria imaterial para obras de arte imateriais. A missão da Galerie é promover a imaterialidade de objectos: trabalhos que não podem ser reduzidos a um objeto ou à documentação de uma ação. Simultaneamente, a Galerie é uma empresa comercial, uma performance e um projeto de pesquisa. Desde o seu lançamento em 2014, está envolvida em diversas atividades, incluindo o Group Show – uma exposição perfomativa, The Booth – um stand vazio de uma feira de artehere em que os dois galeristas representam obras de arte usando seus próprios meios, The Intensive Curse – um workshop em representação de artistas e de obras de arte, The Grand Opening – uma coreografia de uma vernissage sem obras de arte. Galerie tem trabalhado em locais como Material Art Fair (Cidade do México); Jan Mot (Bruxelas); La Ménagerie de Verre (Paris) ou École Nationale Supérieure des Beaux Arts (Lyon) a.o.

http://www.galerie.international

18h30

Animal Companion é um trabalho performativo focado em relacionamentos inter-espécies. Aplica os princípios coreográficos das relações inter-espécies através da produção de imagens para suspender os hábitos humanos convencionais e expandir o possível repertório de relações humanas. O trabalho propõe o espaço de arte social como uma arena para alinhar e projetar ‘alteridade’, a fim de colecionar estratégias para um estar juntos. Para mais informações sobre o projeto, siga o link:

http://www.galerie.international/animalcompanion

21h30

This will be a lecture in which I weave together all my work in recent years that looks at different ‘figures of performance’ to get at questions on spectatorship and audienceship. I will also try to draw a link to some ideas that fascinate me currently; about queerness and The Female Gaze. Feedback or a lively conversation with others would be most welcomed.

17h30-20h

Saša Asentić was born in Bosnia. He started working in Serbia as a performance maker and cultural worker. Since 2007, his work has been presented internationally. Asentić is interested in exploring the relationship between the individual and society and analyzing it in terms of social choreography. He works in the filed of contemporary dance, performance and disability arts. After being a victim of right wing street violence, and fundamentally disagreeing with the corruption in public sector in Serbia, he moved to Germany in 2011. He constantly works on prolonging his resident permit in Germany.

21h30

“xhe” is a new work that I am developing with my old friend and visual artist, Miho Shimizu, and with Karol Tyminski as performer. The work is still under construction. I would like to do a quick exposition of the work and do a demo. This should allow me to put into practice some of the stuff I will be speaking about at the symposium.

21h-30

Domínguez wants to suspend events and create an interval of time in which he can try to integrate his past into his future. He will translate his visions and his desire to encounter the unknown through language. Dominguez is working alone for the first time in 14 years. Back then he choreographed his work with labeled cards for the audience to read. Now, he’ll speak himself and give rise to a self-portrait that cites, in the broadest sense of the word, himself and some of his friends.

Conceived and performed by Juan Domínguez.
Juan Dominguez production with the support of Tanznacht Berlin and Tanzfabrik Berlin/ apap-advancing performing arts project – Performing Europe 2020 / EU – Creative Europe Programme.
Executive production by Manyone

18h30

Ligia Lewis is a dancer and choreographer based in Berlin. Her practice is forged by the aesthetic sensibilities of brownness and blackness; the affective register of being down while meeting the poetic and anarchic qualities of blackness. Her work is deeply personal and can be described as experientially rich and complex. Within her practice, Lewis continues to provoke the nuances of embodiment. Her choreographies include “minor matter”, “Sorrow Swag”, “Sensation 1” and “Melancholy: A White Mellow Drama”.

19h15

Marta Ziółek is a choreographer and performer. She graduated from Interdisciplinary Individual Studies in the Humanities (MISH) at the University of Warsaw and from the School for New Dance Development in Amsterdam. Her work deals with pop culture and new technologies, identity and new rituals as well as with exploring the borders between visual arts, performance art and choreography.

20h

Performative visual artist, has completed the course of Contemporary Dance for Interpreters at Forum Dance (1998-2000). 2001-2007 worked with choreographer Meg Stuart/Damaged Goods in several pieces and improvisation projects. Collaborated with Pierre Colibeuf; Helena Waldman; Gordon Monahan, amongst others. 2004 began directing movement, having worked with João Brites, Gonçalo Amorim, Gonçalo Waddington/Carla Maciel. 2007, the decision of placing the body in the art gallery context, conceiving live installations and performances, became a fundamental pillar in the conception of her own work, also recurring to video due to its possibility to capture the textural plasticity of the body and movement. 2013 premiered her solo The Archaic, Looking Out, The Night Knight. Participated in the Contemporary Art Fair Mostra’14. Directed “Silos de carros e estradas giratórias” for the Festival TODOS. The same year initiated “REACTING TO TIME, portuguese in performance” dealing with the live archive of performance art that happened in Portugal from the 60´s. Recently she premiered the group piece Equanimidade – Ânimo Unalterável at Festival Walk & Talk in Ponta Delgada, Azores.

21h30

Shapes that we cannot recognize, forms that we cannot name, entities that put us in a state of ignorace. And in that ignorance, there is an abyss. Something for which our mechanisms of perception and classification no longer work. Something has broken in that cancels them. One thing that cannot be measured, that cannot be named, that does not belong to the usual tools of measurement. In that abyss there are fear and pleasure at the same time. Therefore the spectator of these forms is a stranger of herself; since seeing them and not being able to name them, the viewer, sees herself for the first time..

21h30

A young American woman reading an introduction to art moderne. A girl with a nose to prominent for her voice. Paintings that isn’t what they appear to be. Distances that just is and nothing more. Imposters (a whole group), seductive and black, impossible to neglect because they are recognisable. A French novelist using short staccato sentences. The darkness that sweeps in, that drops on us like a grey blanket is like the front desk of a middle sized office building. Prominent darkness rise, a darkness’ darkness drained also of the traces of something. Night is the double circle devouring itself as it’s bodies turns into erogenous landscapes – everything is equally and now. Nothing is on show here, nothing to listen to, but out of nothing emerges a liquid darkness that floods our minds, that can be heard. The voice comes back turns, around like Robert Pattison.

21h30

“Powered by Emotion” is a full night solo created and performed by Mårten Spångberg originating from a desire to dance and sing without having access to skill and technical capacity in relationship to the production of, on the one hand territory and on the other, perhaps more tangible, notions of identity and belonging. Starting with an interest between territory and political potentiality the choreographer explores two overdetermined artistic materials Walter Verdin’s film of Steve Paxton’s dance to J.S. Bach’s Goldberg Variations and the songs of Buena Vista Social Club. Through the performers inability and nonplussed relation to the material it appears that the spectator is urged to reconsider a politics of aesthetics. What we see and hear both is and isn’t Steve Paxton dancing and Buena Vista Social Club voicing sentimental love. Powered by Emotion is utter artificiality in its most natural form.

Music Johann Sebastian Bach, Buena Vista Social Club
Support Tanz im August, Swedish Art Council, The Arts Grants Committee

Thanks to Mette Ingvartsen
Premiere August 2003

21h30

As a cultural worker coming from Belgrade, where the brutal social context of late 1990s and early 2000s strongly influenced my very existence, I have developed a deep thrust in the art and strong social concerns at once. As a result, my work is characterized by practicing critical theory, carrying out theoretical-artistic research projects, and working in various collective structures. Since I find it specific for me and at the same time typical of the context I come from, I believe it would be interesting to present that framework publicly, now that I work on so-called ‘international scene’.

22h30

Life takes us to the most singular and unexpected places, as I found when spending time alone at the Zone, following the footsteps of Andrei Tarkovski´s Stalker. Will share the Remnants of an individual experience at the Baltic Region in winter 2016/17. [With the support of Air Baltic].

18h30

Dancer and choreographer from Athens, based in France. She graduated from the Law University of Athens, and the Greek State School of Dance. She attended the master program ESSAIS on research and choreography in CNDC d’ Angers, under the direction of Emmanuelle Huynh. She participated in the project TRANSFABRIK, a research on curating in France and Germany, directed by Franz Anton Cramer and Yvanne Chapuis and was member of the collective Emanticipation, initiated by Emmanuelle Huynh et François Quintin. She collaborated with DD Dorvillier, Lenio Kaklea, Dinis Machado, Emmanuelle Huynh, Anna Gaiotti, Ana Rita Teodoro. Her last dance piece A kind of fierce was awarded with the Prix Jardin d’Europe in ImpulsTanz Festival 2016.

19h15

Lilia Mestre (Lisboa, 1968) is a performing artist and researcher based in Brussels working mainly in collaboration with other artists. She interested in art practice as a medial tool between several domains of semiotical existence. Her principal medium is dance and choreography. Mestre works with assemblages, scores and inter-subjective set ups as an artist, curator, dramaturge and teacher. She was co-founder and coordinator of Bains Connective Art Laboratory. Since 2008 she has been mentor, workshop facilitator and associated program curator at a.pass (advanced performance and scenography studies) where she has been developing a research on scores as pedagogical tool titled ScoreScapes. From 2017 on she’s apass co-director and artistic coordinator.

21h30

In the work and practice of choreographer Björn Säfsten the body and the mind and its connected actions are scrutinized, dissected and exposed. The focus is on creating ‘another body’, another notion of human physicality, bringing images to life that visually problematize our notion of the human nature. The physical practice expose images that occur from a certain physical action, in a chance method. The work thus takes visual turns and bends, often moulding itself whilst being performed, establishing itself a-new each time for each audience encounter. Björn Säfstens own company, Säfsten Production works as a plattform for choreographic creativity and experimentation. A node of theoretical and practical standpoints where artists come together to speculate and visualize criticism in choreography, politics, language, and the production of identity. Through different types of concepts and works on stage, both self-initiated and commissioned, Björn Säfsten creates choreographic art in close collaboration with his current artistic team. Säfsten been employed as a researcher at The University of Fine Arts Umeå Sweden 2012 – 2015 where he developed the project De-creation of an amphibian praxis together with Philosopher Per Nilsson. Currently Säfsten is touring his works Prologue (2016) as well as creating a new work ”Landscapes of I” in co-production with Riksteatern Sweden, premier 2018.

22h30

Andros Zins-Browne (b. 1981, New York) is an American choreographer who lives and works in Brussels. His work consists of live and hybrid environments at the intersection between installation, performance and conceptual dance. Zins-Browne’s performances have been presented at Centre Pompidou, DeSingel, EMPAC, HAU, ICA London, Kaaitheater, MDT, Stedelijk Museum Amsterdam, and the Impulse Festival where he received a Goethe Institute Award for The Host. His solo Already Unmade, commissioned by the Boghossian Foundation has recently been performed at BOZAR Museum in Brussels, and The Whitney Museum in New York City. In 2013, Andros founded The Great Indoors, an association for artistic research and production.

21h30

“I cannot necessarily author my image on stage as a dancer, but I can author my experience by choosing what’s relevant in my experience to this particular role, and then again to the next. Finding plasticity in the border between what I’m included in and what I’m made up of allows a productive gap that produces a particular, specific agency, giving and taking form. This is an ongoing, volatile practice, rife with glitches.” Chrysa Parkinson (from Material for Movement and Thought, Cecilia Roos, Firework Edition 2013