ARTISTIC PRACTICE SYMPOSIUM

25th to 26th March

LOCATION: TEATRO UNIVERSITÁRIO DO PORTO

 

10h-12h

MARCUS BERGNER, Performing practices

©  Arf Arf

Performing practices/practicing performances. From the perspective of my long-term involvement with the production and presentation of sound poetry and experimental film these sessions will consider interchangeable and interrelated functions of practice (or rehearsal) to that of performing within any experience of art. This will involve participants’ performing/ practicing sound poems as well as viewing and discussing a number of short films. We will use performance scores from a range of artists and poets as well as design our own basic individual scores. A central focus will be in engaging and highlighting so-called ‘non-productive’ and experimental principles to any art making process.

 

 

 

14h-16h

MARCOS SIMÕES & SARA MANENTE, Tele Visions I

 

We will use practices inspired by telepathy as tools for performance. The telepathic approach offers the possibility to rely on a third existence which is ‘a self’, an entity other than us, with its own qualities and ability to perform in an attempt to include chance and other contingencies in the work, to destabilize power relations based on linear logic and to question the effect of belief and make-belief in a performative environment.

Can we create magic by creating the rules for magic to happen? Like an ‘experimental magic’ without magicians; is it possible to empower an object, a person, a situation through speculation and prediction?

This session will be focused on the point of view of the performer: how using telepathy change the presence, the language, the agency and the relation between the people and the objects involved?

 

 

 

16h-18h

MARCOS SIMÕES & SARA MANENTE, Tele Visions II

 

We will use practices inspired by telepathy as tools for performance. The telepathic approach offers the possibility to rely on a third existence which is ‘a self’, an entity other than us, with its own qualities and ability to perform in an attempt to include chance and other contingencies in the work, to destabilize power relations based on linear logic and to question the effect of belief and make-belief in a performative environment.

Can we create magic by creating the rules for magic to happen? Like an ‘experimental magic’ without magicians; is it possible to empower an object, a person, a situation through speculation and prediction?

This session will be focused on the different roles: sender, receiver, witness and spectator. Which kind of language and meta language we use to make something happen in a performative situation?

27th to 31st March

LOCATION: ATENEU COMERCIAL DO PORTO

 

10h-12h30

ANNA GAÏOTTI, Fabrication of cannibalism

© Sarah Blum

« THINK PLACES FOR ADVENTURER. NOMADES.

PLACES WHICH IS ABLE TO REMIND OTHERS PLACES.

PLACES WHERE COINCIDE CONTRACDICTIONS.

PLACES OF FICTIONS.

PLACES OF MADNESS, OF DEATH.

AREAS WITH NO MEASURE, OF SILENCE AND SCREAMS.

AREAS WHERE TO KEEP QUIET UNDER THE ARTIFICIAL RAIN.

LEAVE US THE PLACE OF TEARS. » C. Régy

 

Dance gives space to the construction and the education of an extraordinary body. The body, through the power of the imagination and landscape emergence, is a politic ground where we access to survival plays.

The poetic actor involves the physical present of languages, such in words that gestural, with an acute awareness of archives, gaps, daily vestiges and silences that build him as a character. He travels through a patchwork of memorial fragments and fantasies, in the past and in the future; he abandons; he catches the failure to understand.

The illustration of a desire on stage is nothing if the body does not live the dance in the hole of the impossible. Accepting the vulnerability, being in the nude confronting signs, leaves us the place for intimate wildness.

“I share choreographic practices, crossings through real and fictional landscapes, where bodies are invested as witnessing sensational architectures, as well anarchistic. Fabrication of cannibalism is a deep immersion with/in the body as well corpse and prey, piece of meat and erotic flesh. By leading with poetry I aim to dive in the materiality of the sensational skeleton and the permeability of the flesh: extraordinary dark landscape of the subconscious, revival of the detail, sexual abstractions.

Then, I want to question silences and inner tune by reviving natural archive of each other.

 

Cannibalism is a pelling process of choreographic matter.

Cannibalism is a sustain of desires and emotions in the non-consumation, preserving abstractions, building fantasies and substances.

Cannibalism is a potentality for science-fiction and how to overflow real and crash the body into it boundaries (how to go against it own nature)

Cannibalism is working with the multiple censorships.

Cannibalism is an androgynous dream.”

 

 

 

14h-17h

VALENTINA DESIDERI, Studio Practice

(the sessions for this artistic practice are from 27th to 30th March)



Studio Practice is a fiction (or rather a bet) that there is no outside to learning. If we gather and read a text, if we talk, if we move, if we cook, if we wrestle on the floor, if we sleep together; we are studying. The activity of study is usually one of preparation (for a later moment) and the studio a place of rehearsal (for the performance), but what if there is no later moment to the study, neither of becoming a professional nor performing on stage? what if the studio/study is just a practice, something we do? I invite people to gather in the studio to practice studying together. We can depart from practices of reading (Tarots, poetry, philosophy) and sensing (Fake therapy, Political therapy)  that I use in my work and play with what kind of knowing and being together those allow. As they are a departure point and not something to be learnt, workshop participants are also invited to bring in any material or practice or way of being together we can assume in our exploration of study in the studio.

 

 

 

17h-19h30

VON CALHAU, Rombudagem frankensilábica

 

This sessions have has main focus is to vocalize phonemes conceived from the mutilation frankensilabic of pre-selected vocabulary, in order to form a monstruous chorus with the participants.

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