14 to 20 OCTOBER

14 a 15 de Outubro

MIRA | Artes Performativas

Something doing

Lilia Mestre


I would like to propose touching as a vehicle to approach each other, the place and the context we are going to be in. to use the skin, the fingers and hands as a technology for getting in touch, as tools to reach for, to bring closer, attach, detach, search for, … as much as language. to use what’s there as the materials for the doing. Whatever. ourselves, the building, to sense with, to write with. I’m interested in places of convergence between sensing, doing and thinking and to find a co-habitation a play ground of attentions. for the past years, in the frame of the post -master a.pass (advanced performance and scenography studies), I have been developing scores to bring together in conversation different artistic practices, to remain and sustain the place of the ‘figuring out’ or the ‘figuring with’ and to raise questions that don’t lead to answers but to processes. To find systems to learn together by doing, sensing, observing, thinking in whatever order this might happen. we’ll practice together scores for ‘something doing’ between movement, touch and writing. that’s what happens when I’m in places doing things, reading books, figuring out what is present and what presence does. touching always, moving always. searching for a thinking body together practice that contaminates without colonising. looking for experimentation as a way of living – making life – producing desire to live together. And this brings me to idea of friendship that has been surrounding the practice of the scores. a place, a practice that is supported by the presence of others, friends (?), that are partners in doing, where alliance exists not towards a common enemy but on the solidarity of making that life living. Maybe friendship can be thought as being alone together as in potentialising differences. Celine Condorelli in her text ‘To close to see: notes on friendship, a conversation with Johan Frederik Hartle, writes something I very much feel close to: “Perhaps this is a way of working that creates close ties and connections between things, people, and myself, and more often than not this feels like a friendship of sorts. I work by spending time with things I have collected, with the references that I carry along, with the numerous voices – of friends, acquaintances and peers – that are part of the process of developing work, which also include the essential voices of inspirational thinkers from the past that populate our thoughts and conversations and are thus also present. Friendship, then, is perhaps a condition of work. It might never be the actual subject of the work – however close it is to a long-term object of my practice, support – but it is a formative, operational condition that works on multiple, simultaneous levels.” And in the same text quotes Virno: ‘The characteristics the “friend” is not merely that of sharing the same “enemy”; it is defined by the relations of solidarity that are established in the course of flight – by the necessity of working together to invent opportunities that up until that point have not been computed, and by the fact of their common participation in the Republic.’

14 to 15 October

MIRA | Artes Performativas


Katerina Andreou


I am interested in practices that observe the gap or link between authority and autonomy. Practices that put the body in a contrasted situation where the notion of control becomes the very source of action and reaction. In Stuttttering! the goal is to confuse impulse and censorship, to never let the idea of consistency take over, to believe in constant rupture, to obey and rebel at the same time, to forget and never project while doing, to work with contrast. I will then hope that the confusion will sharpen our thinking to a point that intuition takes over in order for movement to survive. And then we will wait for the dance to sneak in.

17 to 20 October

Ateneu Comercial do Porto

Transformation by repetition

Björn Säfsten


With in this sessions we will experiment with a praxis Säfsten has developed for his upcoming project Landscapes of I, the practice is built on a tactile scanning of movement, sound and breath, where the tactile analysis and consciousness drives the transformation of the material at hand. To direct ones consciousness is to transform what one looks at. Inserting awareness makes things change and choreographing the mind shows what is at stake. The method can both be used to de-create our movement heritage as well as produce choreographic material. It´s a physical experiment of becoming through repetition where the dancer needs to juxta-point their wish to produce and control in contrast to realizing the subconscious transformation that is always moving within the body.

17 to 20 October

Ateneu Comercial do Porto


Andros Zins-Browne


At the intersection of feeding ourselves- consuming (ourselves), and producing the (consumption of) endless streams of information and images- is a dormant social organization; some way of both being together and not, a network feeding like a pack of animals on the cloud. Andros will lead the group in some of the physical practices of Feeding which follows a line of his work, twisting digital and virtual worlds into analogue, embodied expressions.

18 to 20 October

Ateneu Comercial do Porto

Comprehension and Constitution

Chrysa Parkinson


How is a performer is constituted? What do they constitute? How is what they constitute comprehended? Performers deal with the fact that they cannot control how they are perceived. Instead, they include perception, their own and others’, as a material to work with. I’m fascinated by this process of mattering: this paradoxical and subaltern work that performers engage in with skill, desire and risk. During this meeting in Porto I will propose performance scores and physical tasks to develop quick contexts for working with comprehension, constitution, plasticity and glitches. Writing, talking, listening, memorizing and moving will be the modes in use.