IF
I
CAN’T
DANCE,
IF
I
CAN’T
DANCE,
I DON’T WANT TO BE PART OF YOUR REVOLUTION
2019-2020
Derrais Carter

Derrais Carter examines the 1970s painting Sugar Shack by Ernie Barnes as a rhizome for exploring black intimacy.

Black Revelry

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Derrais Carter examines the 1970s painting Sugar Shack by Ernie Barnes as a rhizome for exploring black intimacy.

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering. Derrais Carter will give an introduction to his research project Black Revelry.

 

 

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

Sara Giannini

Sara Giannini looks into the complex ways in which the actor, author, director, and public persona Carmelo Bene (1937–2002) rethought the stage beyond the fictional realm as a philosophical space.

Maquillage as Meditation. Dis-identity, ecstasy and the feminine in Carmelo Bene’s performance philosophy

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Sara Giannini looks into the complex ways in which the actor, author, director, and public persona Carmelo Bene (1937–2002) rethought the stage beyond the fictional realm as a philosophical space.

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering. Sara Giannini will give an introduction to her research project Maquillage as Meditation. Dis-identity, ecstasy and the feminine in Carmelo Bene’s performance philosophy.

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

Lisa Robertson

Lisa Robertson continues her research project wide rime on the innovation and cultural movements of rhyme in medieval troubadour poetry.

wide rime

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Lisa Robertson continues her research project wide rime on the innovation and cultural movements of rhyme in medieval troubadour poetry.

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering. Lisa Robertson will give an introduction on her research into the innovation and cultural movements of rhyme in medieval troubadour poetry.

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

Pauline Curnier Jardin

Within the commissions series Pauline Curnier Jardin makes her first feature film, extending her interest in rituals that accompany life phases.

[no title yet]

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Within the commissions series Pauline Curnier Jardin makes her first feature film, extending her interest in rituals that accompany life phases.

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering.Pauline Curnier will give a presentation on her ideas for the new commission and screen her latest movie, part of the feature film trajectory, Qu’un sang impur.


Acknowledgements

Qu’un sang impur is co-produced by Bergen Assembly, Freunde der Nationalgalerie / Nationalgalerie –Staatliche Museen zu Berlin, and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution.

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

MPA

Within the commissions series MPA creates a new theatre performance in which she focuses on telepathic techniques to move matter.

[no title yet]

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Within the commissions series MPA creates a new theatre performance in which she focuses on telepathic techniques to move matter.

 

Statement by the artist:

“I want to create a moment, call it a performance, where we cut through the bullshit and lick the wounds of empire and shoot com-passions to the back doors of enemies. I want to believe that this moment will move you which is move me to levitate. Like saints and shamans and magic makers, I want us the colonizers and the colonized and the mutants in-between to expire empire by driving forcefields on psychic highways to change the game (which is no game at all) of cages and prisons. Spinning around we will sound no alarms but move to disarm the deceptions clinging to our hearts. “they” told us to disbelieve in love.

 

Gambling the gifts from spirits, Truths were murdered, and then called myth. Resilience looks like “reply silence”. I want to create a moment where we hear our silent answers. You that drive this curse know no prayers. No need to explain any of this through science (yet). Love is universal as in lawful…taking flesh of flesh for proceed is human made. Contact with the belly of heaven, and wheel me to the clay of creation. This text cannot edit and fails credit. No buying time. Time is spent. War time is no time, but all the time. I suggest we bend this blind time with enlightened minds.”

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering. MPA will present a performance.

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

Sands Murray-Wassink

Sands Murray Wassink (b. 1974, Topeka, Kansas USA. Lives in Amsterdam) is a painter, body artist and perfume collector indebted to various forms and permutations of intersectional feminist art and queer art, in particular the artists Adrian Piper, Carolee Schneemann, and Hannah Wilke.

 

Within the commissions series Sands Murray-Wassink digs, orders, and archives the full inventory of his studio as a durational performance over a period of one year. This will take place in a studio at the Rijksakademie from October 2019 to October 2020 accompanied by a program of public events.

[no title yet]

Introduction
Saturday 26 and Sunday 27 October 2019, 12-19hr

Sands Murray Wassink (b. 1974, Topeka, Kansas USA. Lives in Amsterdam)is a painter, body artist and perfume collector indebted to various forms and permutations of intersectional feminist art and queer art, in particular the artists Adrian Piper, Carolee Schneemann, and Hannah Wilke.

 

Within the commissions series Sands Murray-Wassink digs, orders, and archives the full inventory of his studio as a durational performance over a period of one year. This will take place in a studio at the Rijksakademie from October 2019 to October 2020 accompanied by a program of public events.

 

Statement by the artist:

I am doing it because I feel insignificant. And I don’t agree with patriarchal logic which says that insecure people overcompensate with outrageous behavior. Or I would say that this patriarchal logic should be seen through a feminist lens. Carolee Schneemann did not have a permanent teaching job or advisory position her whole life and it was because she was never complacent toeing the line. And she didn’t strive to not toe the line, she did intuitively and fiercely what she thought was necessary in the face of total denial and came up trumps. She’s one for the Istory books now. Like Virginia. I want to be nature to women’s culture. I want to cul-tivate. My studio archiving and sorting and organizing and optimizing is an attempt at a skeleton. A profeminist painter’s skeleton. I am 45 years of desiring meat, blood, flesh. I come from the margins. Nice to meet you.

 

By way of introducing the new 2019-20 program, the artists, researchers, and fellow present their works and research currently underway during a two-day gathering. Sands Murray-Wassink will speak about key elements in his practice in relation to his new performance, taking stock of his studio.


Acknowledgements

Sands Murray-Wassink’s performance is hosted by the Rijksakademie Amsterdam.

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Free/reservation required via office@ificantdance.org

2017–2018
Mounira Al Solh

Myriam Lefkowitz (b. 1980, Paris. Lives in Paris) creates conditions for augmented perceptive experiences that favour attention, trust and the negotiation of emotions and relations; she designs a new ‘choreographic tool’ over a series of workshops.

 

As one of four artists commissioned to produce new work for VII (2017–18), Myriam Lefkowitz designs a new situation in public space in Amsterdam. She establishes a collaborative context—gatherings of artists, students, social workers, researchers, healers, activists, for example—for the transmission and dissemination of their respective tools.

Four Letters in the Postbox

Screening
Tuesday 4 December 2018, 19–21.30hr

This documentary follows the personal discussions, people and places related to four women originally from Lebanon and Syria—Waad, Hanin, Rogine and Zeina. In their new cities, they face questions about the meaning of their cultures, family and political visions. Is exile a choice or an accident? What is home? How to behave in our new countries? Does the abuse of the word ‘refugees’ affect us?

 

Avant-première with Syrian banquet by Aleppo Kitchen, and a music performance by Rogine Hassan.

 

col, English and Arabic with English subtitles


Acknowledgements

Featuring: Waad Amer, Hanin Ghaddar, Rogine Hassan, Zeina Mansour, with Abdallah Ali Alsayed, Ali Ali Alsayed, Fatat Ali Alsayed, Mounira Al Solh, Nouran Breem, Ramy Ghanem, Tone Hansen, Dalshad Hassan, Bilal Khbeiz, Nabil Mohammad, Nader Omid, Nabeeh Semaan, Hussein Tabarai, Siddhi Tettero, Ronald Verweij

 

Camera: Mounira Al Solh, Ben Geraerts, Frida Marzouk, Temra Pavlovic

 

Sound: Mounira Al Solh, Kristian Dmitri, Bodil Furu, Tumelo Maesela

 

Producer: Frédérique Bergholtz

 

Co-commissioned by Sharjah Art Foundation

ZID Theatre
De Roos van Dekamaweg 1, 1061 HR Amsterdam
The Netherlands

 

€12,50 adults / €10 students
(includes meal)

à la santé des alliés

Screening
Friday 15 December 2017, 16hr

The film, whose title translates as ‘to the health of allies’, narrates layers of parallel events in Lebanon and Syria during the pan-Arab Nasserite movement of the 1950s and 60s. Made from 2003–16 and told from the different perspective of the artist’s relatives, opinions and recollections of the same incidents begin to contradict each other, mixing personal and political events to reveal time as three-dimensional rather than linear.

 

Mounira Al Solh (b. 1978, Beirut. Lives in Beirut and Zutphen, NL) traces the movement of stories to reflect upon her personal history and those of the people she encounters in order to consider how social and political themes are grounded in daily life.

 

As one of four artists commissioned to produce new work for VII (2017–18), Mounira Al Solh furthers her interest in biography and oral histories as a means to think through the Lebanese Civil War and the contemporary Syrian Civil War, employing diverse mediums—video, performative gestures, painting and embroidery—to do so.


Acknowledgements

Featuring: Waad Amer, Hanin Ghaddar, Rogine Hassan, Zeina Mansour with Abdallah Ali Alsayed, Ali Ali Alsayed, Fatat Ali Alsayed, Nouran Breem, Ramy Ghanem, Tone Hansen, Dalshad Hassan, Bilal Khbeiz, Nabil Mohammad, Nader Omid, Nabeeh Semaan, Mounira Al Solh, Hussein Tabarai, Siddhi Tettero, Ronald Verweij

 

Camera: Ben Geraerts, Frida Marzouk, Temra Pavlovic, Mounira Al Solh

 

Sound: Kristian Dmitri, Bodil Furu, Tumelo Maesela, Mounira Al Solh

 

Producer: Frédérique Bergholtz

 

Co-commissioned by Sharjah Art Foundation

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

€5 adults / students

Rhea Anastas

Rhea Anastas (b. 1969, Gloucester, MA. Lives in Los Angeles) is an art historian, cofounder of Orchard and Associate Professor in the Department of Art at University of California, Irvine; she initiates a study of the artist and philosopher Adrian Piper’s work Some Reflective Surfaces (1975–76).

“What You Know from How I Move”: excerpts from viewing and researching Adrian Piper’s Some Reflective Surfaces (1975–76), the audience-orientated performance at the Whitney Museum of American Art, New York, 28 February 1976 in the exhibition Adrian Piper: A Synthesis of Intuitions, 1965–2016

Lecture
Thursday 29 November 2018, 19–20.30hr

Inviting audience discussion, Anastas reads excerpts from her research spanning summer 2017 to autumn 2018, exploring parallels between specific intersubjective dynamics within the watching and being-watched and the spacing mechanisms (in time, context and conditions) entailed in apprehending and reflecting on Some Reflective Surfaces. Piper performed this piece on stage at the Whitney Museum of American Art in New York on 28 February 1976 as part of a multi-day programme of commissioned live pieces.


Acknowledgements

Presented in collaboration with the department of Art History, University of Amsterdam

 

Special thanks to Adrian Piper Research Archive (APRA) Foundation Berlin

University of Amsterdam Auditorium
Oudemanhuispoort 4-6, 1012 CN Amsterdam
The Netherlands

 

€5 adults / students

Research on Adrian Piper

Screening
Saturday 23 September 2017, 15–16.30hr

With narration and film, Anastas introduces her study of artist and philosopher Adrian Piper’s Some Reflective Surfaces (1975–1976). In this piece, Piper appears as a disco dancer in modified Mythic Being guise, performing for the first time in formal terms for an art audience. Additionally, two other works by Piper are screened: Aspects of the Liberal Dilemma (1978) and It’s Just Art (1980).

 

Rhea Anastas (b. 1969, Gloucester, MA. Lives in Los Angeles) is an art historian, cofounder of Orchard and Associate Professor in the Department of Art at University of California, Irvine; she initiates a study of the artist and philosopher Adrian Piper’s work Some Reflective Surfaces (1975–76).


Acknowledgements

With thanks to The University of California, Berkeley Art Museum and Pacific Film Archive; APRA Foundation Berlin; and Lévy Gorvy, New York

If I Can’t Dance
Westerdok 606–608, 1013 BV Amsterdam
The Netherlands

 

Free

keyon gaskin

keyon gaskin prefers not to contextualise their art with their credentials.

 

As one of four artists commissioned to produce new work for VII (2017–18), keyon gaskin creates a number of new performances that trouble the discipline’s form, institutions and conventions by investing in the gaps they find within these, and by pursuing the potentials of gathering.

keyon gaskin: NASHA

d.a. carter

‘When you encounter NASHA, refuse language. Be present and patient with yourself. Instead of trying to explain the work, let the performance work on you. Allow it to build memories, real and imagined. Let it hum through you.’ d.a. carter provides an account of keyon gaskin’s NASHA, presented at Bijlmer Parktheater in Amsterdam on 30 November 2018.

read more

ISBN 9789492139139
12 p, bw, 15×10,5 cm, pb, English, 2019

 

Download


€5

add to cart

King’s Day Protest

Screening
Friday 30 November 2018, 17.45hr

A new video work broadcast on the public screen at Amsterdam Bijlmer ArenA train station.

6 min, col


Acknowledgements

Performers: Emma Nantermoz, Neda Rujeva, Julia Sara Vavra, Karina Villafan

 

Camera: Temra Pavlovic

 

Edit: keyon gaskin, Temra Pavlovic

 

Special thanks to SNDO – School for New Dance Development

Amsterdam Bijlmer ArenA
1101 BE Amsterdam
The Netherlands

 

Free

NASHA

Performance
Friday 30 November 2018, 18.15–22.30hr

A gathering of three performances with keyon gaskin and friends. An attempt at being less lonely when travelling, named after the artist’s little sister. It centres on and values black sociality, and resists creating something ‘new’ through stipulation, giving context through experience.


Acknowledgements

Introduction d.a. carter

 

Dead Thoroughbred in collaboration with sidony oneal

 

the multifarious nature of care with Adee Roberson (Tropic Green)

 

[a swatch of lavender]: a self portrait performed by local artists

 

Samiya Bashir

Field Theories (2017)

6 videos, approx 1 min 30 sec each, col, English

Movement: keyon gaskin

Camera and edit: Roland Dahwen (Patua Films)

 

Presented with the support of SNDO – School for New Dance Development, Fine Arts Department Sandberg Instituut, USB Sandberg Black Student Union and Unsettling Sandberg Instituut/Gerrit Rietveld Academie, all Amsterdam.

Bijlmer Parktheater

Anton de Komplein 240, 1102 DR Amsterdam

The Netherlands

 

€15 adults / €12,50 students
(includes meal)

this is a performance.

you are a community.

you are my material.

this is a prison.

leave when you want.

Performance
Friday 28 September 2018, 19.30hr

On residency in Amsterdam to further develop their new work commission, keyon gaskin presents a performance that, as Litia Perta writes, is ‘less about a whole picture – a total or totalizing knowledge – than it is about intimacy, failure to see, nearness that obstructs rather than clarifies … this work unsettles, undoes, asks what it means, looks like, feels like, to come undone, to see only fragments, to have little or no context.’

FLAM – Forum for Live Art Amsterdam at Arti et Amicitiae
Rokin 112, 1012 LB Amsterdam
The Netherlands

 

€7,50 adults / students

its not a thing

Performance
Thursday 21 and Friday 22 September 2017, 19hr

Writer Jamie Hale has reflected on this work in The Oregonian: ‘… no matter how hard keyon gaskin tries to make the performance not a thing, its not a thing is somehow the most captivating thing in town.’

 

keyon gaskin prefers not to contextualise their art with their credentials.

 

As one of four artists commissioned to produce new work for VII (2017–18), keyon gaskincreates a number of new performances that trouble the discipline’s form, institutions and conventions by investing in the gaps they find within these, and by pursuing the potentials of gathering.

Dansmakers Podium
Gedempt Hamerkanaal 203, 1021 KP Amsterdam
The Netherlands

 

€7,50 adults / €5 students

Myriam Lefkowitz

Myriam Lefkowitz (b. 1980, Paris. Lives in Paris) creates conditions for augmented perceptive experiences that favour attention, trust and the negotiation of emotions and relations; she designs a new ‘choreographic tool’ over a series of workshops.

 

As one of four artists commissioned to produce new work for VII (2017–18), Myriam Lefkowitz designs a new situation in public space in Amsterdam. She establishes a collaborative context—gatherings of artists, students, social workers, researchers, healers, activists, for example—for the transmission and dissemination of their respective tools.

Myriam Lefkowitz: La Bibliothèque

Susan Gibb

‘Visible psychic dramas play out in their bodies. It is like witnessing someone dream, but with more consciousness. While observing, it is clear that for some people the experience is not so easy, in contrast to the open curiosity I felt.’ This essay by Susan Gibb provides an account of Myriam Lefkowitz’s La Bibliothèque, presented in the Library of the University of Amsterdam in November 2018.

read more

ISBN 9789492139146

24 p, bw, 15×10,5 cm, pb, English, 2019

 

Download


€5

add to cart

How Can One Know in Such Darkness?

Performance
Saturday 24 November 2018, 9–10.30hr, 10.30–12hr, 13.30–15hr, 15–16.30hr and 16.30–18hr

During library opening hours, beholders are ushered into a hall and invited to lie down, close their eyes and immerse themselves in a collective tactile experience. Surrounded by blankets, pillows, fabrics, stones and other objects, performers weave a non-verbal narrative between bodies using touch and sound. Feelings and imagination, states of sleep and wakefulness, may blur to enable a different regime of images to appear. Each session accommodates ten beholders, who may then watch the following session.


Acknowledgements

Performers: Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, Zoe Scoglio

 

Original concept: Jean Philippe Derail, Julie Laporte, Myriam Lefkowitz

 

Developed in partnership with La Ferme du Buisson, Noisiel through Corpus, an international network for performance-related work, and with La Galerie, centre d’art contemporain, Noisy-le-Sec. Presented in collaboration with the department of Art History in the Library of the University of Amsterdam

University of Amsterdam Library
Singel 425, 1012 WP Amsterdam
The Netherlands

 

€10 adults / students

La Bibliothèque

Performance
Thursday 22, Friday 23, Monday 26, Tuesday 27 and Wednesday 28 November 2018, 10.30–12hr, 13–14.30hr and 15–16.30hr

An art project that questions the usual patterns of attention. Five performers intermingle in the daily life of a library, each guiding a single beholder at a time through a series of ‘attention devices’: a walk with closed eyes, a nap augmented by the subtle touch of objects, textiles and sounds and a reading practice that addresses the entire body as a site for understanding.


Acknowledgements

Performers: Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, Zoe Scoglio

 

Conceived in lineage with La Piscine, a project performed at a swimming pool and created by Lendl Barcelos, Jean Philippe Derail, Valentina Desideri, Ben Evans, Alkis Hadjandreou, Catalina Insignares, Julie Laporte, Géraldine Longueville, Florian Richaud, Simon Ripoll-Hurier, Clara Valière, Yasmine Youcef

 

Co-produced by Bulegoa z/b, Bilbao and La Ferme du Buisson, Noisiel in the frame of Corpus, an international network for performance-related work, and presented in collaboration with the department of Art History in the Library of the University of Amsterdam

University of Amsterdam Library
Singel 425, 1012 WP Amsterdam
The Netherlands

 

€10 adults / students

The Book Club: A Space for Collective Study and Experimentation

Reading Group
Saturday 7 July 2018, 12–18hr

Commencing at Vondelpark, followed by a bike ride to a cabin in the Amsterdamse Bos, this session explores forms of collective reading and study that address the body as a space of understanding. The proposed series of actions and gestures question the distinction between body and mind, theory and practice. They seek ways to relate concepts with sensations, affects, perceptions, images, memories, objects, rhythms and space, providing resources to unfold news modes of reading.


Acknowledgements

Collaboration: Cécile Lavergne, Théo Robine-Langlois

 

Co-produced by La Ferme du Buisson in the frame of Corpus, an international network for performance-related work

If I Can’t Dance

Westerdok 606–608, 1013 BV Amsterdam

The Netherlands

 

Free, reservations required

Practising Attention

Workshop
Monday 5 February 2018, 10–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

 

Participants are asked to bring a text they consider feminist and an object or fabric with interesting tactile or sound properties.


Acknowledgements

Collaborator: Cécile Lavergne

Podium Mozaïek
Bos en Lommerweg 191, 1055 DT Amsterdam
The Netherlands

 

Free, reservations required

Practising Attention

Workshop
Wednesday 13 December 2017, 10–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

Centro Municipal de San Francisco
Plaza Corazón de María s/n, 48003 Bilbao
Spain

 

Free, reservations required

Practising Attention

Workshop
Friday 17 November 2017, 14–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

Huiskamer van de Buurt de Tagerijn
Balboastraat 18, 1057 VW Amsterdam
The Netherlands

 

Free, reservations required

How can one know in such darkness?

Performance
Saturday 28 October 2017, 14hr

One of a series of public meetings putting into practice the research about attention, sensation and perception conducted during her three-month residency at La Ferme du Buisson. Through various immersive devices that provoke encounters between choreographic artists and spectators, Lefkowitz creates the conditions for an increased perceptual experience through the use of gaze, touch, walking and liminal states between sleep and waking.

 

Myriam Lefkowitz (b. 1980, Paris. Lives in Paris) creates conditions for augmented perceptive experiences that favour attention, trust and the negotiation of emotions and relations; she designs a new ‘choreographic tool’ over a series of workshops.

 

As one of four artists commissioned to produce new work for VII (2017–18), Myriam Lefkowitz designs a new situation in public space in Amsterdam. She establishes a collaborative context—gatherings of artists, students, social workers, researchers, healers, activists, for example—for the transmission and dissemination of their respective tools.


Acknowledgements

Collaborators: Jean Philippe Derail, Ghyslaine Gau, Thierry Grapotte, Catalina Insignares, Julie Laporte, Florian Richaud, Yasmine Youcef

 

The performance and residency at La Ferme du Buisson takes place with the support of Drac Île-de-France – Ministère de la Culture, Conseil régional d’Île-de-France and Corpus, an international network for performance-related work

La Ferme du Buisson
Allée de la Ferme, 77186 Noisiel
France

 

Free

Nataša Petrešin-Bachelez

Nataša Petrešin-Bachelez (b. 1976, Ljubljana. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist and author of several videos, Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris), including her unfinished film Calamity on US-American frontierswoman Calamity Jane’s letters to her daughter. (49)

Defiant Muse: Delphine Seyrig

Lecture
Sunday 2 December 2018, 11.30–16hr

An introduction, with co-curator Giovanna Zapperi, to their 2019–20 Delphine Seyrig exhibition at LaM, Lille, and Museo Reina Sofía, Madrid, which addresses Seyrig’s critical engagement with disobedience, countering normativity, transnational struggles and the anti-psychiatry movement. Petrešin-Bachelez then discusses her research into Seyrig’s unrealised film Calamity, from the late 1970s, for which she collaborated with filmmaker Babette Mangolte and poet Etel Adnan. Seyrig sought to explore the mother-daughter relationship, undergirded by her long-term interest in US-American culture.

Veem House for Performance
Van Diemenstraat 408-410, 1013 CR Amsterdam
The Netherlands

 

€12 adults / €7 students

Defiant Muse: Delphine Seyrig

Screening
Saturday 1 December 2018, 20–23hr

An evening with two films by Delphine Seyrig and collaborators:

 

Maso et Miso vont en bateau [Maso and Miso Go Boating] (1976)

 

Les Insoumuses responds to comments by the Secretary of State for the Status of Women following the 1975 International Women’s Year. Appropriating and editing broadcasted material into parody, this detournement is a scathing meditation on the violence implicit in the stereotypical roles permitted women in public life.

 

55 min, bw, French with English subtitles

 

Sois belle et tais-toi [Shut Up and Be Beautiful] (1981)

 

A series of interviews with film actresses including Jenny Agutter, Jane Fonda and Maria Schneider. The title phrase, taken from the eponymous 1958 film by Marc Allegret, summarises real situations the actresses describe being expected – and very often forced – to endure in the film industry. A video statement for #MeToo avant la lettre.

 

115 min, bw, French with English subtitles


Acknowledgements

Courtesy the Centre audiovisuel Simone de Beauvoir, Paris

Veem House for Performance
Van Diemenstraat 408-410, 1013 CR Amsterdam
The Netherlands

 

€12 adults / €7 students

Research on Delphine Seyrig

Lecture
Friday 15 December 2017, 14hr

A reactivation of actress, video-maker and feminist activist Delphine Seyrig’s unrealised black and white silent feature about the letters of US-American frontierswoman Calamity Jane to her daughter. At the heart of Seyrig’s interest in the story is the relationship between mother and daughter, which she explores as an actress in Chantal Akerman’s Letters Home (1986), screened here alongside camerawoman Babette Mangolte’s Calamity rushes and Seyrig’s videos Inês (1974), S.C.U.M. Manifesto (1976) and Maso et miso vont en bateau (1976).

 

Part of a larger commission, in collaboration with art historian Giovanna Zapperi, by Centre audiovisuel Simone de Beauvoir, Paris

 

Nataša Petrešin-Bachelez (b. 1976, Ljubljana. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist and author of several videos, Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris), including her unfinished film Calamity on US-American frontierswoman Calamity Jane’s letters to her daughter.

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

 

€5 adults / students

Charlotte Prodger

Charlotte Prodger (b. 1974, Bournemouth. Lives in Glasgow) explores the intertwining of landscape, bodies, technology and language; she is developing a work that investigates what happens to the coded signifiers of queer bodies in uninhabited wildernesses.

SaF05

Exhibition
Saturday 11 May – Sunday 24 November 2019

This film combines archival, scientific and diaristic footage from the Scottish Highlands, the Great Basin Desert, the Okavango Delta and the Ionian Islands. SaF05 is the name of a maned lioness, a cipher for queer attachment and desire. Prodger intersects a database of behaviours and camera-trap footage of SaF05, the last of several maned lionesses documented in the Okavango Delta, with autobiographical fragments that fluctuate between proximity and distance.

 

39 min, col, English


Acknowledgements

Produced by Scotland + Venice in partnership with If I Can’t Dance, with additional support from Charlotte Prodger Supporters Circle, Elephant Trust, Hollybush Gardens, Koppe Astner, Mercer Union Toronto, Stedelijk Museum Amsterdam

 

Exhibition commissioned by the Scotland + Venice partnership with funding support from the National Lottery through Creative Scotland, curated by Linsey Young with Cove Park

 

On its return to Scotland, the work tours the Highlands and Islands, while If I Can’t Dance leads an international tour to the Stedelijk Museum Amsterdam and Mercer Union Toronto

Open daily Tuesday – Sunday, 10–18hr

The 58th International Art Exhibition – La Biennale di Venezia, Arsenale Docks

San Pietro di Castello 40, 30122 Venice

Italy

 

Free

Passing as a Great Grey Owl

Screening
Thursday 8 November – Tuesday 4 December 2018, 14–18hr

Found footage of a female biologist mimicking the call of the male great grey owl is counter-posed with video of women’s legs as they urinate in different wildernesses. The collision of these activities suggests exuberant queer territoriality. This video work includes a passage from ‘I am (for The Birds)’, the final text in late artist and curator Ian White’s book Here is Information. Mobilise (2016).

 

6 min, col, English


Acknowledgements

Courtesy LUX Scotland

If I Can’t Dance

Westerdok 606–608, 1013 BV Amsterdam 

The Netherlands  

Open weekdays only

 

Free

BRIDGIT and LHB, with other videos

Screening
Saturday 14 October 2017, 14hr

The videos BRIDGIT (2016) and LHB (2017) will be shown alongside works that have been influential to her practice and thinking around ‘queer wildernesses’: Dani Leventhal and Jared Buckhiester’s Hard As Opal (2015) and Jonathan Rattner’s The Interior (2016). They enquire into queer life in the densely-populated urban contexts that dominate popular LGBTQI narratives. A sunset walk through Bergen aan Zee’s dune landscape to the North Sea follows the screening.

 

Charlotte Prodger (b. 1974, Bournemouth. Lives in Glasgow) explores the intertwining of landscape, bodies, technology and language; she is developing a work that investigates what happens to the coded signifiers of queer bodies in uninhabited wildernesses.


Acknowledgements

With thanks to Berwick Film and Media Arts Festival and Video Data Bank

Filmtheater Cinebergen
Eeuwigelaan 7, 1861 CL Bergen
The Netherlands

 

€15 adults / students
(includes free bus service, reservations required)