ARTISTIC PRACTICE SYMPOSIUM

25th March

Screening & Artistic Talk with Marcus Bergner

at OPPIA, 21h

©  Arf Arf

Marcus Bergner, will show four of his experimental films, unveiling a part of  his artistic realm which refer to three main research focus: language/poetry, space/ performance and visual arts. It’ll be a four 16mm short duration screening, before Marcus meeting with the audience.

Musical Four Letters (16mm, 5mins, sound, 1989) Any four letter word that have anything to do with music or sound was written directly onto the film surface of a 1950’s Mexican musical.

Thread of Voice by Arf Arf (16mm, 19mins, sound, 1993) A experimental documentary about the work of the Australian sound poetry group Arf Arf.

Tales from Vienna Hoods (16mm, 17mins, sound, 1989). Rorschach inkblot tests conducted by the US army are the basis to this experimental animation film that includes Czech sound poetry.

Angledozer (16mm, 18mins, sound, 1997) A highly layered retreatment and collage of found footage mixed with architectural studies of suburban ruins.

 

 

 

26th March

TELE VISIONS

Marcos Simões & Sara Manente

at Teatro Universitário do Porto, 21h

  

THERE ARE SENDERS AND RECEIVERS AND THERE IS AN AUDIENCE TOO.

THERE IS "BELIEF" AND THERE IS "MAKE BELIEF" AND THERE IS "MAGIC" TOO.

WE CREATE THE MAGIC BY CREATING THE RULES FOR IT TO HAPPEN.

WE EMPOWER AN OBJECT, A PERSON, A SITUATION THROUGH  SPECULATION AND PREDICTION.

LIKE AN "EXPERIMENTAL MAGIC" WITHOUT MAGICIANS.

Sara and Marcos conceived the evening as an experiment in telepathy: have you ever had paranormal experiences? Do you know someone who has telepathic skills? Did you ever hear a ghost? Have you ever had premonitory vision? Did you hear of astral voyages?

The telepathy plays on the following assumption: what if we all have telepathic powers to send and receive messages between each other? In the setting of Tele Visions, there are two groups in front of each other (the audience watching the experiment and the members of the audience chosen to be the receivers), with Sara and Marcos in between as the senders of the message.

The senders are sending out a message: an instruction to be performed by the receivers. This message is only visible for the audience. The sender and the receiver "telepathically" communicate the message by looking into each other's eyes. The receiver performs the message without knowing what the message is.

The triangular relation created between the performers, the audience and the senders creates a multitude of layers of reading and engaging in the dynamics of the performance.Finally the work reflects back on: what a performance is, what it produces, how virtuosity and failure works, what our expectations are.

 

"We let other forces enter the work: chance and understanding on a level of communication other than language. That way we empower the people involved in a collaboration in which everybody is engaged in creating meaning."

 

Concept Sara Manente & Marcos Simoes

Performance Sara Manente, Marcos Simoes and some guests from the audience

Production Hiros for Cabra

Supported by BUDA (Kortrijk), CAM2 Mostoles (Madrid), Re:commerce, Bains Connective (Brussels)

Duration and Language 60 minutes in English  

 

 

 

30th March

Meeting with Valentina Desideri

at Ateneu Comercial do Porto, 21h

In this meeting open to all interested audience, Valentina will present and talk about a body of work that has accompannied her through reading practices, from Tarot, poetry, philosophy, Fake Theraphy and Political Theraphy , that has been using on her own creations as choreographer.

 

Meeting with Anna Gaïotti

at Ateneu Comercial do Porto, 22h

Multidisciplinary artist and writer, will reveal and present artisticmodes and references with which she works on her own multitalented approach between erotique grotesque and queer, language and improvisation.

 

 

 

31st March

ROMBUDAGEM FRAKENSILÁBICA

von Calhau

at Ateneu Comercial do Porto, 21h

 

Presentation where procedures and methologies of rombudagem frakensilabic are used.

 

 

 

1st April

WALK + TALK no. 21

Philipp Gehmacher

at Teatro Universitário do Porto, 21h

© Gadi Dagon

For the lecture performance walk + talk i am interested in a ‚walk and talk’ system. a choreographer walks into the space, moves and talks about what he or she is doing. the artist picks physical themes from their choreographic works and speaks about what they think they are doing, what their associations are on those specific moments, what they think is happening and why they are interested in that. etc etc. they do that whilst being in motion, in the chosen physicality.

Walk + talk is a practice and method of doing and sharing in a public context as much as a practice that speaks about one's practice. it is less about description and explanation than speaking becoming a gesture itself, a gesture of utterance running parallel to the moving. maybe different forms of speech can appear, and some things will be better left unnamed.

The lecture performance walk + talk is a statement and cross section of the choreographers work at present. it should be a serious performance, up to 50 minutes. it has a beginning and an end and if you believe it has to be open and casual, you know how to do that. i think i am into artists being totally concentrated and into themselves, allowing that intimate, for me mainly mute existence, to be heard through the attempt of speaking whilst doing. it’s not about quantity of words but maybe a form of resonance being created by attempts of speaking, out. a possibility of sharing.

 
Concept and Dance Philipp Gehmacher
Produced by Mumbling Fish
Coproduced by Tanzquartier Wien
Supported by Kulturabteilung der Stadt Wien, MA7

 

 

1st April

BARCO DANCE COLLECTION

Dinis Machado

at Teatro Universitário do Porto, 22h

 

BARCO Dance Collection is a project were I, Dinis Machado, invite other choreographers, to choreograph a short solo (10 to 15 min) for myself as a dancer. 

It is a collection of dances rather then a collection of dance performances (in the interdisciplinary sense of a stage performance where the light, the sound, the set and the costumes build something together). The proposal for the choreographers is to think that the space were this dances happen is not the room where we are in but within the body itself. This is a collection of dances where dance is looked and worked on as something autonomous.

The project arrives to a public through evenings where a group of dances are shown together. They will mostly not be shown on stages but in other varied types of spaces. Barco is therefore designed to be presented anywhere. Being the performative condition of dance practice mostly immaterial, as a map, this collection is as well a gathering of practices rather then the objects that surround it.

 

A project initiated and performed by Dinis Machado (SE/PT),

with choreographies by Dan Daw (UK), Lucy Suggate (UK), Vicky Malin (UK), Robbie Synge (UK), Katerina S. Andreou (GR/FR), Javiera Péon-Veiga (CL), Elisabete Finger (BR), Rosalind Goldberg (SE), Rebecka Stillman (SE), Rachel Tess (US/SE), Jorge Gonçalves (DE/PT), Ali Moini (IR/FR), Miguel Jaime (UY/AR), Conny Carlsson (SE), Anna Koch (SE), among others to come...

and Curatorial Gaze essays by Kate Marsch (UK), Chris Lewis-Jones (UK), Flora Wellesley Wesley (UK), among others to come... 

Project produced by BARCO

Performed and co-produced in residency at Weld (Stockholm), Ballet Contemporâneo do Norte (St Mª da Feira), Dance4 (Nottingham), Konstnärsnämnden (Stockholm), MARC (Kivic), Nave (Chile), METAL (Peterborough), Dance4 (Nottingham), Critical Path (Sydney), Weld (Stockholm), Inter Arts Centre (Malmo), Festival International de Danza Contemporânea de Uruguay (Montevideo).

With the support of Konstnärsnämnden (SE), Kulturrådet (SE), Arts Council England (UK) and DGArtes (PT)

 

 

 

2nd April

Meeting with Vladimir Miller

at Teatro Universitário do Porto, 21h

Vladimir Miller, cenographer and performer, will share how does his practice rethinks and revisit artistic creation space within sócio-political model, and within existing negotiations when colectives build and recosntruct a multiplicity of spaces on the same time dimension.

  

  

  

6th April

Meeting with Nadia Lauro

at Ateneu Comercial do Porto, 21h

Nadia Lauro, that has been developing cenographic spaces, enviroments and visual instalations on diverse contexts, with a subtle and dense dramaturgy, will talk about how different modes of seeing and watching define some political architectiures of looking.

  

  

  

6th April

WHERE'S THE REST OF ME?

Litó Walkey

at Ateneu Comercial do Porto, 22h

© Lars Gosper

“...The thing that you were going to do, then you did the thing that you had said that you had read and thought and said you were going to do and then you said that you had done all that.
And then it just continued to go through that so it was this this this and then it was going back and then it was this and then it was going forward and then it was going back. It always had a continuously forward motion even though it was constantly regressing. You are moving forward in time, but at the same time you are continually going back and considering what it was, reading what it was, saying what it was, doing what it was and then saying what it was the whole thing and the whole time moving forward.
It's like three steps back, three steps forward and a little to the left.”
- D.Foy, Response to Where's the rest of me? 2012

“Litó created a sense of timelessness and placelessness in her work; we were left wondering when the piece would start and where it would take place. However, without fully realizing it, we were already active participants in the work, engaged with Litó's questioning the boundaries between performer and spectator, beginning and end; we were awaiting something that in fact had already begun. Further underlined when she followed along to her own prerecorded voice, reformulating and remediating her speech, and barely keeping up with her scripted words, it became clear that Litó was engaging the audience with multiple disruptions of place and speech, pointing us to ponder even further the separation between performer and self, and performer and audience.”
- Erin La Cour, Response to Where's the rest of me? 2013

 

 

 

7th April

an Occasion hosted by Isabel Lewis

at Ateneu Comercial do Porto, 21h

© Joanna Seitz

Considered a celebratory and sensory gathering of things, people, plants, music, dance and smells, occasions hosted by Isabel Lewis take place in a decorated environment where visitors can come and go as they please. Lewis will unfold a specific dramaturgy, attuned to her guests and their energies, that includes dances, smells, music, and spoken address in a way that allows for conversation, contemplation, dancing, listening, or just simply being. Easing the formalities of distanced observation often found within a theatre or exhibition context, Lewis is interested in situations that generate relaxation where the entire human sensorium can be engaged. The work evokes a garden, a site of modal mixing; a place historically used for different kinds of activities including philosophizing, erotic engagement, scientific research, meditation, socializing and romantic encounters.

 

 

  

8th April

Meeting with Hamish MacPherson

at Teatro Universitário do Porto, 21h

Hamish MacPherson, with this meeting will frame how for him, choreographer and dancer, the different relational spaces, scores, objects, cenography, atmospheres, traditions or groups of people, determine diverse ecosystems of constant negotiation.

 

  

  

8th April

STUDIES ON FANTASMICAL ANATOMIES

Anne Juren

at Teatro Universitário do Porto, 22h

 © Karolina Miernik

In her Studies on fantasmical anatomies , Anne Juren attempts to expand the contextual boundaries of the term choreography by proposing a creative imaginative space in which the choreography is placed inside the body of the spectator.

Led by a voice, the performance distorted the membranes of the spectator in order to travel the inner and unknown parts of its body. Doing this, it imposes an unreading of what a body is and where its borders are and disrupts the logic of anatomy by creating unexpected relations. The performance attempts to destabilise and deconstruct the individualistic ideologies, and move away from the desire of privacy, normative patterns and logical relationships.

During this trip inside its own body, the spectator is engaged in different states of kinaesthetic, sensorial, mental and cosmic cannibalistic experiences. A landscape of phantasmagoric and delirious spaces is open, where dysfunctional relations and unimaginable actions can take place, troubling the relations between inner and outer sensations.

+ extract :

“I arrive at the back of your head

and I start sensing the concave shape of your skull from the inside.
my fingers bury themselves in the cerebral convolutions
 touching the superficial folds of your brains,

they penetrate inside your brain.


I seek the medulla tucked in somewhere deep inside your skull. 


I take the weight of your brain in my palms.

I hold it.

I lift it up a bit.

I stay silent,
immobile.”

Concept, choreography and performance Anne Juren

Set Design Vladimir Miller

Light Design Bruno Pocheron

Foley Sound Céline Bernard

Assistant Camille Chanel

Production Wiener Tanz- und Kunstbewegung

Supported by the cultural department of the city of Vienna

 

 

 

 

 

9th April

Meeting with Jack Hauser & Sabina Holzer

Meeting at 21h in Café Vera Cruz, Rua de Cedofeita 250 | 4050-174 Porto

The austrian duo, Jack Hauser & Sabina Holzer, invite the interested and curious audience to dive into a fictional intensity and space and time dramaturgy, in this meeting that will immerse us onto their performative and instalation project "Apartment Miryam van Doren".

 

 

 

11th April

Meeting with Jennifer Lacey

at Ateneu Comercial do Porto, 22h

The well known north-american choreographer Jennifer Lacey, will talk, in this meeting with the audience, about her choreographic practice which haa been methodologically developing to question production modes that define aesthetical rules, body vocabularies and specific behaviours frequently – but not always – performative.

   

    

     

11th April

KATAPULT: Excerpted from Booby Traps * volumes I-V (2017-2018), Antonija Livingstone

at Ateneu Comercial do Porto, 22h

Things in a room.

I am here for the artists symposium on practice...
Oh you mean those people doing things in the room ?
Yes, exactly.

The Ateneu salon is the newest room to host a 40 minute lecture demonstration of a selection of some the most delightful and atrocious things of Livingstones queer body of work to date. This is an exhibition of some of the traces from the various oeuvres played out as a polyphonic scenario for action, materials, and conversation. Could it be the things who are choreographing the body of the artists or the attention of the public ?

Via the intersection of performance and plastic arts practices over the last decade Livingstone has been devoted to creating a series of 10 diverse feminist works co-signed with a wild range of visual artists, choreographers, performers and animal companions : from this archive

...the ear, the axe, the snail, the beard, the compost, the eau de vie...

   

   

   

13th April

TOGETHERING, A GROUP SOLO

Alice Cauchat

at Ateneu Comercial do Porto, 21h

 

Togethering, a group solo' embraces dance as an expression, a social activity and a collective process. Presenting us with a series of proposals in which dance is both a means and an end to togetherness, it includes a lecture on speech and agreement within groups, a telepathic dance and a poetry reading. Alice Chauchat shares some aspects of the collective imagination she practiced over the past 15 years in the field of dance and choreography. They are stories about co-existing and about sharing. While remaining in their formal territories (spectators watching, dancer dancing), performer and audience share roles: assistant, companion, collaborator or host, as protagonists of the theatrical event. Considering our shared time/space both as a reality and as a projection space for other occasions of coming-together, it is an invitation to address those occasions as experiments that are each time re-formulated and that we invent together.

Read more about the dances in the piece here

 

Dance, text, performance: Alice Chauchat

Production: Alice Chauchat, with the support of the Theaterschool (Amsterdam)

Thanks to Eva Meyer-Keller, TheaterHaus Mitte (Berlin) and Eden studios (Berlin) for giving me access to their spaces. I also want to express my gratitude to the colleagues and friends who joined and nourished this process by dancing and talking with me over the last 18 months: Yves, Michael, Michelle, Günther, Sher, Jeroen, Velvet, Siegmar, Cécile, Christine, Alix, Peter, Dave, Eva, Jennifer, Silke, Ellen, Anne, Valentina, Mark, Keith, Mårten, Philippe, Raimundas, Arielle, Angela, Doug, Sara, Catarina, Ellen, Janine, Gabi, Méheli, Sarah, Thea, Sara, Mattew, Asher, Agata, Joséphine, Katharina, Rosalind, Roni, Laurie, Uri, Louise, Julia, Asaf, Xenia, Hana, Ana, Jennifer, Anne, Sonia, Elise, Alice, Zinzi, Mor, Sandhya, Stina, Agne, Leah, Antonia, Antonija, Selene, Ines, Hamish, Nicola, Amaara, Seke, Tatiana, Naomi, Martin, Cristina, Karen, Tina, David, Jamie, Kathy, Carolyn, Janine, Monique, Romany, Sophie, Andrew, Jonathan, Helka, Catherine, Meg, Greg, Eroca, David, Nichole, Patricia, Rebecca, Gabrielle, Thomas, Annie, Loren, Mairi, Tina, Meryeum, Oriah, Lo, Miruna, Ara, Amelia, Robert, Amanda, Lee, Simon, Dana, Emi, Robert, Anne, Robyn, Emma, as well as all the other, former companions whose stories I tell like fables. This work wouldn't exist without you.

Built with Berta.me