ARTISTIC PRACTICE SYMPOSIUM

1st to 2nd April

LOCATION: TEATRO UNIVERSITÁRIO DO PORTO

 

10h-12h

PHILIPP GEHMACHER, performing performing performing

© Eva Würdinger

My current artistic endeavours revolve around understanding the relationship between the body, things, like artworks, sculptures, or just materials, and their potential formats of presentation. I think during my practice session I will share my research of practices in the visual artists and of artists stemming from contemporary dance and the way they perform the body, the object and the event. This session involves possibly moving, talking, maybe watching stuff.

   

 

 

14h-16h

VLADIMIR MILLER, Exoskeleton

In the practice I would like to propose for this workshop we will look closely at the relationship between social contract and architecture. It will be a practice of collectively building spatial structures out of simple materials. It pursues the question of „In which ways do the explicit and implicit agreements within the group shape the collectively created architectural space?“ In the second part of the practice we will use the structure we have built as a space for a conversation about the tension betweeen the processes of institutionalization and processes of commoning within collaborative environments. 

 

 

   

16h-18h

DINIS MACHADO, Psychedelic Bodies for Somatic Fictions & So Very Precisely Blurry - Revisiting Formalism Without Hierarchy

Day 1 _ Psychedelic Bodies for Somatic Fictions

Dinis Machado opens up the practices from his past years of research, in which he has been interested in the question "what happens when bodies do not imagine themselves as they are medically described?". He looks critically at science as the mainstream normative fictional description over the human body. Inspired by the metamorphose of psychedelic experiences, he works to empower other perspectives and narratives as a way to potentiate other body experiences, and therefore, alternative movement production. Tools to escape or enlarge the normative limits created by the anthropomorphist self-representation of our own bodies. Far from concepts like freedom and liberation he researches embodiment and psychedelia through the construction of criteria.

Day 2 _ So Very Precisely Blurry - Revisiting Formalism Without Hierarchy

Dinis Machado revisits Formalism on a post somatic perspective. A hyperformal series of exercise of a made-up virtuosity put together from fragments and techniques of a deliberately laconic, appropriated and made-up dance narrative. A subjective speculation, a deformed gaze calcified by a confident practice. Multifarious dances where our bodies are put inside out, not through any illustration of a libertarian exercise, but through a hyperformal acceleration.

3rd to 7th April

LOCAL: ATENEU COMERCIAL DO PORTO

 

10h-12h30

LITÓ WALKEY, Turn a subject into a process

© Lars Gosper

A research in language, performance and relational potential with a focus to inaugurate a self-generated permission and become available for committing to the unlikely.

This practice proposes operations of formulation, assemblage, and feedback amplification that construct invitations, suggestive openings, possibilities, for the thing as it is, to change.

Through identifying fragmentary units of thought, movement and text, and making deliberate shifts of address, modality and authorship, we will work to expose the possible eclipse and oscillation of intension, plan, imperative, translation, script, accident, preparation, performance and audience.

Exercising the re-occurence and co-occurence of constructed fragments, we will observe how the language that directs or indexes performance is itself already performance.

 

 

 

14h-16h30

NADIA LAURO, Ideal architecture for the regard

(the sessions for this artistic practice are from 4th to 7th de April)

Starting from an existing project of one or more participants. Then, translate the "activator" of this project into an ideal architecture built for the gaze.

This, in order to develop a public dispositif de regard that allows to experiment the work via a scenarized approach of the space which, in turn, interrogates.

The result is a partner space for dance, where the question of the viewer-watched generates a specific state of gaze.

 

 

 

16h30-19h30

ISABEL LEWIS, Occasion

(the sessions for this artistic practice are from 4th to 7th de April)

© Joanna Seitz

Isabel Lewis' interests circle dance (as a cultural storage system, as a technology of the self) and aesthetics in the space of social encounter. In the format she has herself coined the "occasion," particular conditions are created for a celebratory meeting of things, people, plants, music,  smells and dances, that conjure the ancient Greek symposium, where philosophizing, drinking and the erotic were inseparable. The entire human sensorium is engaged with smells composed by Norwegian chemist and smell researcher Sissel Tolaas.

In the last years Lewis has been working and crafting a specific way of performing which combines the skills of the dancer, the DJ, and the orator. In this way of performing a dancer becomes a host crafting the atmosphere, and attending to her guests offering stimulus and sociality in a space that is imagined as a kind of indoor garden and meeting place. It is a space for the exercise of the aesthetic, the spiritual, and the political, a space where the city gathers to celebrate itself. In the garden we reflect on our understanding of world where we dare to imagine and try out new ways of relating to the world and one another. In an age defined by reason our habits of thinking shape our bodies and affect our physiology. In this work dance is used to embody another way of being in the world, a way that begins without the preliminary division of mind and body.

Different from theatrical dance performances that create a space of distanced observation and intellectual contemplation and work with the excitement and anticipation of the "event," this format works towards creating the conditions for a bodily experience of relaxation and well-being. In this new format sound, smell, and touch play as important a role as sight. As the host Lewis unfolds a dramaturgy specific to each occasion, its 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.

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