IF
I
CAN’T
DANCE,
IF
I
CAN’T
DANCE,
I DON’T WANT TO BE PART OF YOUR REVOLUTION
 

We offer a range of educational programmes to create opportunities for artists to develop pedagogical projects, and for participants to learn through in-depth engagement with an artist’s practice and modes of production. We also produce educational programmes and collaborations with partner educational institutions to facilitate this process. On invitation, we delivers workshops tailored to educational institutions and interested groups in the Netherlands and abroad with artists we work with or our curatorial team.


The core of our work is the long-term development, production, and presentation of commissioned productions with artists, curators, and researchers. The current productions follow an individual trajectory of development and presentation during the coming months, and this programme coalesces around the field of inquiry Ritual and Display led by fellow Giulia Damiani.

     To introduce the new 2019–20 program, the artists, researchers, and fellow present their productions currently underway during a two-day public gathering:


While each production follows an individual trajectory of development and presentation, our programma also coalesces around a field of inquiry. Through reading groups, radio programmes and other events we invite the practitioners involved in the programme, as well as our audiences to engage in research related to performance in a socio-political context.




2019–20
Commissions
Pauline Curnier Jardin

Qu’un sang impur, introduction

Screening
Saturday 26 October 2019, 15hr
Pauline Curnier Jardin, Qu'un sang impur (2019), mix-media installation and film, HD, colour, stereo, 16 min.

Within the commissions series Pauline Curnier Jardin makes her first feature film, extending her interest in rituals that accompany life phases. During the introductory weekend she presents her ideas for the new commission, and screens her latest movie, part of the feature film trajectory, Qu’un sang impur.


Acknowledgements

Qu’un sang impur is co-produced by Bergen Assembly and Freunde der Nationalgalerie / Nationalgalerie – Staatliche Museen zu Berlin.

 

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

MPA

Liveness, introduction

Performance
Saturday 26 October 2019, 12hr

“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.”

Within the commissions series MPA creates a new theatre performance in which she focuses on telepathic techniques to move matter. As part of the weekend introducing the new 2019-20 program, MPA presents a performance.

 

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

Sands Murray-Wassink

Up To And Including

His Limits, introduction

Performance
Saturday 26 2019, 15hr

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.

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. Sands will speak about key elements in his practice in relation to this new performance, taking stock of his studio.

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

Research projects
Derrais Carter

Black Revelry, introduction

Lecture
Sunday 27 October 2019, 15hr
Ernie Barnes, The Sugar Shack (1976), Acrylic on canvas, 36 in. x 48 in. (
Collection of Jeannie and Jim Epstein © Ernie Barnes Family Trust)

Derrais Carter will give an introduction to his research project, examining the 1970s painting Sugar Shack by Ernie Barnes as a rhizome for exploring black intimacy.

 

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

Sara Giannini

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

Lecture
Sunday 27 October 2019, 12hr
Carmelo Bene in Pinocchio (1966), Teatro Centrale, Rome. © Claudio Abate.

Sara Giannini will give an introduction to her research project, looking 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.

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

Lisa Robertson

wide rime, introduction

Lecture
Sunday 27 October 2019, 12hr

Lisa Robertson will give an introduction on her ongoing research project wide rime, on the innovation and cultural movements of rhyme in medieval troubadour poetry.

 

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

The programme is fully booked; a waiting list is opened. Free/reservation required via office@ificantdance.org

Ritual and Display
Reading Group

Land and Display

Reading Group
November 2019

Fourth gathering of the Ritual and Display Reading Group on the relationship between land, ritual and display.

 

We began this session celebrating the work of Indigenous writer Leanne Betasamosake Simpson. We focused on the chapter ‘Land as Pedagogy’ from her crucial book As We Have Always Done which tells of her work within the Nishnaabeg community. In our attempt to explore ritual today we felt it was essential to acknowledge communities in which rituals are recurring moments for the generation of individual and collective meanings. Simpson’s writing brought us closer to an ontological relationship to land in rituals. Her story kept us lingering on the reality of land as pedagogy, as both context and process. Léuli Eshrāghi and Hannah Donnelly’s texts continued carrying our conversation on space and context as responsibilities for both makers and viewers. When the connections between objects and their place of origin has been eroded by Western violence and colonialism, can modes of display and curatorial strategies in museum collections help us rebuild these original relationships? Can we rethink display in the tension with ritual and displacement?

 

Our conversations culminated in the powerful images and thinking of the film 4 Waters: Deep Implicancy by Arjuna Neuman and Denise Ferreira da Silva and the screening concluded this session.


Acknowledgements

Texts and materials by Leanne Betasamosake Simpson, Léuli Eshrāghi, Hannah Donnelly, Arjuna Neuman and Denise Ferreira da Silva

Prophecies and Oracles

Reading Group
July 2019

Third gathering of the Ritual and Display Reading Group with prophecies and oracles.

 

What’s the relation of performance and performativity with prophecy? How can the prophetess magnetise the future? How can silence be transformed into language and action? The group coalesced around these questions and a series of images, including a volcanic eruption and a 17th century illustration of underground fire canals. We explored instances where natural elements were used for divining the future and for self-revelation. Volcanic eruptions entered our conversation as reminders of the prophecies of the end of the world, but also as conveyors of the limitations of our rational system of thinking. We celebrated our final coming together before the summer with an Oracle for a Reading Group, offered to us by artist and researcher Hestia Peppe. Each of us became querent and oracle. We thought about the agency of the listener or receiver of the oracle. We played and we let ourselves go. 


Acknowledgements

Texts and materials by Steven Connor, Emily Dickinson, Silvia Federici, Athanasius Kircher, Leonilson, Audre Lorde, Hestia Peppe

Magic and Spells

Reading Group
June 2019

Second gathering of the Ritual and Display Reading Group with a focus on magic and spells.

 

The selected readings offered an informal encounter between the work of writer Bhanu Kapil, anthropologist Ernesto de Martino and poet Rebecca Tamás. We started by reading out loud Kapil’s poem 1947: Spell to Reverse a Line. We noticed the gaps and breathing spaces between her lines, each sentence becoming a boundary and communicating a state of being bound, or better spellbound. An original knot in the poet’s life, the 1947 partition of India and Pakistan, can begin to be undone by the poet through her use of enchantment and an expansive language. De Martino and Tamás guided us through a conception of magic and rituals not as techniques but as social and political practices in a community’s wider ecosystem. What if the figure of the witch returns to trigger decolonial and feminist responses? What’s the currency of ritual today as a tool of self-empowerment and a call for solidarity? 


Acknowledgements

Texts and materials by Bhanu Kapil, Ernesto de Martino and Rebecca Tamás

Open to the public by invitation

Ritual and Display

Reading Group
May 2019

First gathering of the Ritual and Display Reading Group with a screening of the film The Sibyls by the feminist group Le Nemesiache.

 

We considered a feminist practice to launch our journey in the theme. Our fellow Giulia Damiani introduced her work on Le Nemesiache and their extensive performance activity in Naples. Through translations from Le Nemesiache’s archive and the film we began asking what happens to the idiosyncrasies of ritual and display when they serve the purpose of feminisms. The Sibyls (1977) engages with rituals and natural phenomena around Naples and shows the entanglements of ritual with landscape, magic, fabulation and practices of evocation and invocation. We found it relevant and contentious to juxtapose Le Nemesiache’s situated approach with theorist Richard Schechner’s work on the ritual form of performance, which he defined as an ‘efficacious’ action. We carried forward the following question: how to preserve and rethink the contingent and transformative promise expressed by ritual and display? 


Acknowledgements

Translations by Giulia Damiani

Texts and materials by Le Nemesiache, Richard Schechner

Courtesy Le Nemesiache’s archive, Naples

Introduction to the Reading Group

Reading Group

Our Reading Group has been a crucial site for researching, sharing and creating within the field of enquiry since its inception in 2006. For our current Edition the Reading Group is structured around six working sessions that take place between May 2019 and January 2020. Our overall trajectory aims at addressing how ritualistic practices and modes of display contribute to discussions on performance and performativity, while resisting traditional forms of visual consumption. In line with rituals, where there are no observers but only participants, we wanted the Reading Group to operate like a collaborative platform for studying and for expanded activities among the participants. Thus it seemed relevant to target our invitation to those practitioners whose work can help us think through the theme. 

 

Two radio programmes will unpack aspects from ritual and display for the wider audience while the texts selected for the Reading Group will be further collected in a published Reader. The Reading Group is led by our fellow Giulia Damiani, whose writing and work in performance touches on several facets of the theme. 

Introduction to Giulia Damiani

Fellow
Giulia Damiani, photo: Marcel de Buck, 2019

Giulia Damiani (lives and works in London and Amsterdam) is the fellow for our current edition on Ritual and Display (2019-2020). Giulia is a writer, curator and performance collaborator. She is completing a PhD in the Art department at Goldsmiths University, London (2020, AHRC scholarship) and has been teaching on the MA Curating at Goldsmiths as well as guest lecturing and tutoring at Sandberg Instituut and SNDO in Amsterdam. She has been thinking with the archive of the feminist collective Le Nemesiache from Naples and has been writing new performances inspired by the group’s ritual investment in their natural, supernatural and urban landscape. Her collaborations with artists bring together practices of myth-making, magic, landscape and the language of evocation and invocation.

Radio Emma

Display and displacement

Radio
Wednesday 22 January 2020, 13–14hr

Rituals of the everyday

Radio

How does one engage with rituals in one’s personal, daily life? What is the state of ritual practices today as viewed within the context of Amsterdam? When you hear the word ritual what do you think of? In this part of the Western world, traditional religious ceremonies and national rituals are losing momentum. Yet ritual-associated practices and ancient knowledges are figuring extensively in artistic and cultural contexts and on media platforms. Ritualistic practices usually entail a sense of change and transformation, yet, what is the potential for rituals to bring about societal change?

 

With us, exploring the potential of making ritual happen anywhere, at any time, perhaps even during this show, are three invited guests: choreographer and herbalist Desta Deekman; Guusje Segond Von Banchet, practising nurse with an interest in non-Western medicine and ritual; and Proud Jerusalemite, Guilty oppressor, Aging body, Lazy activist, Theatre maker, Visual artist, Amsterdam-based Tchelet Pearl Weisstub. 

 

The radio show will be broadcast live from the office. Audience is welcome to attend and join for lunch after the show and meet the guests in person.

 

This is one of two radio shows dedicated to the field of inquiry Ritual and Display. The second radio show will take place 22 January 2020 and will focus on the relationship between display and displacement.


Acknowledgements

Host: Giulia Damiani
Technician: Monty Mouw
Jingle: Radna Rumping

 

With thanks to Ja Ja Ja Nee Nee Nee
 

Wednesday 18 December 2019, 13–14hr

 

If I Can’t Dance, I Don’t Want To Be Part
Of Your Revolution
Westerdok 606-608, 1013 BV Amsterdam 
The Netherlands

 

Free, no reservations required

 

Tune in live here

Symposium
xxx
xxx
xxx
Bachelor course
SNDO, Course 18/19

Since 2015, If I Can’t Dance collaborates with the School for New Dance Development (SNDO) on the course “Curating and Performance”, which explores curating within the performing arts field. Across various years of SNDO’s bachelor’s degree programme, the course offers students both theoretical and practical instruction in order to think through how they shape their own artistic work in relationship to the curatorial structures and contexts they choose to create, engage with, or respond to. atd.ahk.nl/en/dance-programmes/sndo

Curating and Performance

Course
May 19

Curating and Performance

Course
April 19
Master course
Dutch Art Institute, Course 18/19

Since 2008 If I Can’t Dance collaborates with the Dutch Art Institute (DAI) on its MA programme. In these courses, artists collaborate with If I Can’t Dance’s curators and lead the workshop from the position of their own performance practices towards the development of an artistic project by the students. dutchartinstitute.eu

The Immemorial Body: act 9

Performance
July 2019

The Immemorial Body: act 8

Workshop
June 2019

The Immemorial Body: act 7

Workshop
May 2019

The Immemorial Body: act 6

Workshop
April 2019
2017–18
Commissions
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; here, she creates a new experimental documentary in collaboration with four women affected by the Syrian war.

Freedom Is a Habit I’m Trying to Learn

Exhibition
Saturday 30 November 2019 – Sunday 8 March 2020
Exhibition opening: Saturday 30 November 2019, 15hr
Mounira Al Solh, Freedom Is a Habit I’m Trying to Learn (2019), video still.

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?

 

The film, commissioned by If I Can’t Dance and as an avant-premiere presented in Amsterdam in ZID Theatre last winter, will premiere in Mounira Al Solh’s upcoming solo-presentation in the exhibition Positions #5 in the Van Abbemuseum, also featuring work by Mercedes Azpilicueta, Anna Dasović, Em’kal Eyongakpa, and Quinsy Gario.

 

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

Van Abbemuseum
Bilderdijklaan 10, 5611 NH Eindhoven
The Netherlands

Freedom Is a Habit I’m Trying to Learn

Screening
Tuesday 4 December 2018, 19–21.30hr
Mounira Al Solh, Freedom Is a Habit I’m Trying to Learn, film screening, ZID Theatre, Amsterdam, 4 december 2018.

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
Mounira Al Solh, à la santé des alliés, film screening, EYE Filmmuseum, Amsterdam, 15 December 2017.

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.

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

 

€5 adults / students

Mounira Al Solh and her commission

Biography

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; here, she creates a new experimental documentary in collaboration with four women affected by the Syrian Civil War.

keyon gaskin

prefers not to contextualize their art with their credentials.

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

NASHA

Performance
Friday 30 November 2018, 18.15–22.30hr
keyon gaskin, NASHA, performance, Bijlmer Parktheater, Amsterdam, 30 November 2018.

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)

King’s Day Protest

Screening
Friday 30 November 2018, 17.45hr
keyon gaskin, King's Day Protest, film screening, Amsterdam Bijlmer ArenA, Amsterdam, 30 November 2018.

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: Temra Pavlovic & keyon gaskin

 

With special thanks to SNDO – School for New Dance Development

Amsterdam Bijlmer ArenA

1101 BE Amsterdam, The Netherlands

 

Free

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
keyon gaskin, this is a performance. you are a community. you are my material. this is a prison. leave when you want., performance, FLAM – Forum for Live Art Amsterdam at Arti et Amicitiae, Amsterdam, 28 September 2018.

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
keyon gaskin, its not a thing, performance, Dansmakers Podium, Amsterdam, 21 – 22 September 2017.

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.’

Dansmakers Podium
Gedempt Hamerkanaal 203, 1021 KP Amsterdam
The Netherlands

 

€7,50 adults / €5 students

keyon gaskin and their commission

Biography

keyon gaskin prefers not to contextualise their art with their credentials; they create 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.

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.

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
Myriam Lefkowitz, How Can One Know in Such Darkness?, performance, University of Amsterdam Library, Amsterdam, 24 November 2018.

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
Myriam Lefkowitz, La Bibliothèque, performance, University of Amsterdam Library, Amsterdam, 22 – 28 November 2018.

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
Myriam Lefkowitz, The Book Club: A Space for Collective Study and Experimentation, reading group, If I Can't Dance, Amsterdam, 7 July 2018.

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
Myriam Lefkowitz, Practising Attention, workshop, Podium Mozaïek, Amsterdam, 5 February 2018.

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

(includes meal)

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
Myriam Lefkowitz, Practising Attention, workshop, Huiskamer van de Buurt de Tagerijn, Amsterdam, 17 November 2017.

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.


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

Myriam Lefkowitz and her commission

Biography

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.

Charlotte Prodger

(b.1974, Bournemouth, UK. Lives in Glasgow) works with sculpture, writing, and moving image of which its ever-evolving formats are inextricably bound to the autobiographical content of her work. Her recent videos set up complex tensions between the body, landscape, identity, and time. This new single-channel film that explores what happens to the coded signifiers of queer bodies within uninhabited wildernesses.

SaF05

Exhibition
Saturday 11 May – Sunday 24 November 2019
Open daily Tuesday – Sunday, 10–18hr
Charlotte Prodger, SaF05 (2019), video still, The 58th International Art Exhibition – La Biennale di Venezia, Venetië, 11 May – 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

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
Charlotte Prodger, Passing as a Great Grey Owl (2017), video still. Courtesy of LUX Scotland.

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  

 

Free

BRIDGIT and LHB, with other videos

Screening
Saturday 14 October 2017, 14hr
Charlotte Prodger, film screening of BRIDGIT and LHB, alongside works by contemporaries—Dani Leventhal, Jared Buckhiester and Jonathan Rattner, Filmtheater Cinebergen, Bergen, 14 October 2017.

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.


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)

Charlotte Prodger and her commission

Biography

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.

Research projects
Rhea Anastas

(b. 1969, Gloucester. Lives in Los Angeles) is an art historian, critic, and curator; she initiates a study of artist and philosopher Adrian Piper’s work Some Reflective Surfaces(1975–76) in which Piper appears as a disco dancer in modified Mythic Being guise with narration and film, performing for the first time in formal terms for an art audience.

‘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
Rhea Anastas, What You Know from How I Move (...), lecture, Auditorium, University of Amsterdam, Amsterdam, 28 November 2018.

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

Lecture
Saturday 23 September 2017, 15–16.30hr
Rhea Anastas, Research on Adrian Piper, film screening, If I Can’t Dance, Amsterdam, 23 September 2017.

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).


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

Rhea Anastas and her research project

Biography

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).

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 American frontierswoman Calamity Jane’s published letters to her daughter.

Eszter Salamon: MONUMENT 0.7: M/OTHERS

Performance
Tuesday 19 and Wednesday 20 November 2019, 20hr
Image: Eszter Salamon, M/OTHERS, performance, 2019. Photo Alain Roux

In empathy with female subjectivities, several of Eszter Salamon’s works focus on feminist genealogies and transgenerational relations. M/OTHERS reconsiders the structures of generations by exploring the mother-daughter relation, aiming to move away from social norms and arrive at new modalities of action, feeling and perception.

 

If I Can’t Dance and Nataša Petrešin-Bachelez commissioned Eszter Salomon to make a new performance in the frame of the research project on Delphine Seyrig’s unrealized black-and-white silent feature film Calamity based on the correspondence between American frontierswoman Calamity Jane and her daughter.


Acknowledgements

Performers: Erzsébet Gyarmati, Eszter Salamon
Scenography: Sylvie Garot, Eszter Salamon
Lighting design: Sylvie Garot
Rehearsal assistance: Liza Baliasnaja, Boglàrka Börcsök
Costumes: Sabin Gröflin
Production: Botschaft Gbr/Alexandra Wellensiek, Studio E.S/Elodie Perrin

 

Coproduced by Project Arts Centre (Dublin) and Ménagerie de Verre (Paris).
Funded by Senatsverwaltung für Kultur und Europa, the Regional Directory of Cultural Affairs of Paris – Ministry of Culture and Communication, and Nationales Performance Netz Coproduction Fund for Dance (NPN) which is funded by the Federal Government Commissioner for Culture and the Media. Special thanks to Susan Gibb and Ferenc Salamon, Lili Kárpáti and Uferstudios.

 

Tour

10, 11, 12 August 2019: Tanz im August (HAU), Berlin, Germany

19, 20 November 2019: If I Can’t Dance

 (Splendor), Amsterdam (in the frame of the research project by Nataša Petrešin-Bachelez on actress, feminist activist and video director Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris)

22, 23 November 2019: Ménagerie de Verre, Paris (in the frame of Les Inaccoutumés)

18 February 2019: Museo Reina Sofía, Madrid (in the frame of the exhibition Defiant Muses Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s)

Splendor
Nieuwe Uilenburgerstraat 116, 1011 LX Amsterdam
The Netherlands
Part of Amsterdam Art Weekend

 

€15 regular / €10 students

 

Duration: 80 min

Free seating


Choose date


Defiant Muse: Delphine Seyrig (DAY II)

Lecture
Sunday 2 December 2018, 11.30–16hr
Nataša Petrešin-Bachelez, Defiant Muse: Delphine Seyrig, lecture, Veem House for Performance, Amsterdam, 1 – 2 December 2018.

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.

Sunday 2 December 2018, 11.30–16hr

Veem House for Performance

Van Diemenstraat 408-410, 1013 CR Amsterdam

The Netherlands

 

€12 adults / €7 students

Defiant Muse: Delphine Seyrig (DAY I)

Screening
Saturday 1 December 2018, 20–23hr
Sequence of the movie Miso and Maso go Boating (1976) by the collective Les Insoumuses (Carole Roussopoulos, Ioana Wieder, Delphine Seyrig, Nadja Ringart). Centre audiovisuel Simone de Beauvoir, Paris.

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
Nataša Petrešin-Bachelez, Research on Delphine Seyrig, lecture, EYE Filmmuseum, Amsterdam, 15 December 2017.

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).


Acknowledgements

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

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

 

€5 adults / students

Nataša Petrešin-Bachelez and her research project

Biography

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.

Social Movement
Radio Emma

Gathering

Radio
Wednesday 28 November 2018, 13–14hr

Gathering: a movement of bodies coming together around a common goal. Whether it be for festive, spiritual, or political reasons, bodies that congregate signify in ways that extend beyond the discursive. This Radio Emma look at gathering and asks, if bodily vulnerability is part of resistance, how can this build grounds for new forms of embodied political intervention and modes of alliance that are characterized by interdependence?

 

With guests Selcuk Balamir, graphic designer and activist; Taka Taka, visual artist and drag performer; Nagaré Willemsen and Tina Reden, students Rietveld Academie and founders usb_blackstudentunion


Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to JaJaJaNeNeNe

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution

Westerdok 606-608, 1013 BV Amsterdam 

The Netherlands

 

Free, no reservations required

 

Tune in live here

Care

Radio
Wednesday 21 November 2018, 13–14hr

The dwindling of social welfare structures that has occured within neoliberalism has shifted structures of care away from collective responsibility. This Radio Emma looks for ways to (re)build relations of care. How can we perform caring gestures that begin from the sensorial, feeling, touching, listening, looking in ways that caress, reach out, search for ethical relations to the self and others? Can an ethics of care forged at a sensorial level be the grounds for an ethics that could reorganize the social?

 

With guests Nell Donkers, archivist de Appel; Sands Murray-Wassink, feminist, perfume collector and visual artist; and Marjan Sax, founder of Mama Cash and activist.


Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to: JaJaJaNeeNeeNee

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution

Westerdok 606-608, 1013 BV Amsterdam

The Netherlands

 

Free, no reservations required

 

Tune in live here

Embodiment

Radio
Wednesday 14 November 2018, 13–14hr

When we think about social movement we tend to think of protests and manifestations, forms of collective action that aim for socio-political change. However bodies also move in social ways. This Radio Emma looks at how the body’s performance ties the individual to the social, the micro to the macro, and seeks to address the concepts of embodiment and social movement.

 

With guests Pascal Gatzen, designer and head of MA Fashion Design, ArtEZ; Gregory Lennon, yoga teacher; and AnnaMaria Pinaka, visual artist


Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to JaJaJaNeNeNe

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution 

Westerdok 606-608, 1013 BV Amsterdam

The Netherlands

 

Free, no reservations required

 

Tune in live here

Reading Group
xxx
xxx
xxx
Lecture
xxx
xxx
xxx
Master course
Dutch Art Institute, Course 17/18

Since 2008 If I Can’t Dance collaborates with the Dutch Art Institute (DAI) on its MA programme. In these courses, artists collaborate with If I Can’t Dance’s curators and lead the workshop from the position of their own performance practices towards the development of an artistic project by the students. dutchartinstitute.eu

Opera Corruption

Screening
July 2018

Opera Corruption

Workshop
June 2018

Opera Corruption

Workshop
May 2018

Opera Corruption

Workshop
April 2018

Opera Corruption

Workshop
March 2018

Opera Corruption

Workshop
Feb 2018

Opera Corruption

Workshop
January 2018

Opera Corruption

Workshop
December 2017

Opera Corruption

Workshop
November 2017

Opera Corruption

introduction
October 2017
Our physical & digital archive
is under construction

2015–16
Commissions
Leonor Antunes
xxx
xxx
xxx
Naufus Ramírez-Figueroa

Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum. Nam quam nunc, blandit vel, luctus pulvinar, hendrerit id, lorem. Maecenas nec odio et ante tincidunt tempus. Donec vitae sapien ut libero venenatis faucibus. Nullam quis ante. Etiam sit amet orci eget eros faucibus tincidunt.

Naufus Ramírez-Figueroa: Requiem for Mirrors and Tigers

With a contribution by Frédérique Bergholtz and Susan Gibb

Requiem for Mirrors and Tigers catalogues the trajectory of a cycle of performances of the same name, through which artist Naufus Ramírez-Figueroa attempts to exhaust his interest in the Guatemalan Civil War as a recurring subject of his work. The publication documents the six performances in the cycle via foldout colour posters of each work and an essay by Frédérique Bergholtz and Susan Gibb that describes each performance alongside a reflection on the cycle as a whole.

read more

Design: Studio Manuel Raeder
Publisher: If I Can’t Dance in partnership with Bom Dia Books, Berlin
ISBN 978-94-92139-11-5 
56 p, ills col, pb, 29.7x 21 cm, English, 2018


€19

add to cart
Joke Robaard
Joke Robaard: Small Things That Can Be Lined Up

With contributions by Amelia Groom

This brochure provides an introduction to Joke Robaard’s Small Things That Can Be Lined Up, commissioned by If I Can’t Dance, and includes images and scripts from the work’s production and a new essay on Robaard’s practice by art writer Amelia Groom.

read more

Design: Maureen Mooren

ISBN 978-94-92139-09-2

20 p, ills bw, 21×27 cm, pb, English, 2016


€5

add to cart
Alex Martinis Roe
To Become Two: Propositions for Feminist Collective Practice

Alex Martinis Roe

To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia since the 1970s including: Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney; and Duoda – Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research proposes a trans-generational approach to feminist politics. This is further developed as a handbook of twenty new propositions for feminist collective practice formed in collaboration with a network of contributors through experiments with historical practices.

read more

Illustration: Alicia Frankovich

Design: Archive Appendix

Publisher: Archive Books in partnership with arge kunst, Berlin; Casco – Office for Art, Design and Theory, Utrecht; If I Can’t Dance; and The Showroom, London

ISBN 978-94-92139-11-5

280 p, ills col, pb, 12×19 cm, English, 2018


€18

add to cart
Research projects
Erin Alexa Freedman and Lili Huston Herterich
Chroma Lives

Erin Alexa Freedman and Lili Huston-Herterich with a contribution by Rosemary Donegan

Chroma Lives comprises research of a performative archive project by Erin Alexa Freedman and Lili Huston-Herterich into the group exhibition Chromaliving: New Designs for Living. Taking place in Toronto in 1983, Chromaliving occupied the disused architecture of a former department store and offered audiences a theatricalized vision of contemporary living through a labyrinth-like setting of domestic room displays of artist-made furniture, dressed mannequins, appliances, and interior decoration. Chroma Lives asks how one might reanimate this large-scale exhibition from Toronto’s recent art historical past and suture it to contemporary practices within the city. The publication includes essays by Freedman and Huston-Herterich that provide a history of Chromaliving and of the contemporary exhibition and oral history project they staged to archive this past event. These texts are accompanied by a previously unpublished essay by art historian Rosemary Donegan, which tells the history of Toronto’s vibrant downtown art scene in the early eighties; and generous photographic documentation of Chromaliving and its contemporary restaging Chroma Lives.

read more

ISBN: 978-94-92139-10-8

64 p, ills col & bw, 21×27 cm, pb, English, 2018


€15

add to cart
Fred Moten and Wu Tsang
Who Touched Me?

Fred Moten and Wu Tsang with a contribution by Denise Ferreira da Silva

Who Touched Me? is a compilation of research by Fred Moten and Wu Tsang, who together cohabit the roles of poet and performance artist. It traces the development of their sculptural performance Gravitational Feel, which was yet to be realized at the time the book went to print. This book introduces the reader to this work in its virtual state, while tracing Moten and Tsang’s lived experience of collaboration through a body of text composed of email correspondence, notes, poetry, fragments of essays, and transcriptions of earlier collaborative work. Together these entwined texts create a new socio-poetic form. To quote from the book’s pages: “The research/experiment is in how to sense entanglement.”

read more

ISBN 978-94-92139-06-1

64 p, ills col, 21×27 cm, pb, English, 2018


€15

add to cart
Peter Pal Pelbart
Ueinzz Theatre Company: Cosmopolitical Delay

Peter Pál Pelbart with contributions by Iza Cremonine and Paula Francisquetti

Ueinzz Theatre Company: Cosmopolitical Delay brings together a major new essay by philosopher Peter Pál Pelbart—a member of Ueinzz since its inception twenty years ago—and experiential contributions by other core members of the Brazilian theatre company. The thinkers, actors, philosophers, users of psychiatry, and therapists who make up Ueinzz adopt the theatre as a device “for changing power over life into power for life”. Self-described as a “community of those with no community, for a community to come”, Ueinzz proposes a territory of performance “for all those who feel the world around them is crumbling”. Through personal recollections, fragments of scripts, and philosophical musings, Pelbart rounds out the significance of Ueinzz’s “way of life”. Complementary contributions are by fellow Ueinzz members, including Paula Francisquetti, Leonardo Lui Cavalcanti, Amélia Monteiro de Melo, and the late Iza Cremonine.

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ISBN 978-94-92139-07-8

64 p, ills col, 21×27 cm, pb, English, 2018


€15

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Event and Duration
Reading Group Amsterdam
xxx
xxx
xxx
Reading Group Sao Paulo
xxx
xxx
xxx
Reading Group Toronto
xxx
xxx
xxx
Symposium
xxx
xxx
xxx
2013–14
Appropriation and Dedication
Reading Group Amsterdam
xxx
xxx
xxx
Reading Group Sao Paulo
xxx
xxx
xxx
Reading Group Toronto
xxx
xxx
xxx
Radio Emma
xxx
xxx
xxx
Symposium
xxx
xxx
xxx
Commissions
Gerry Bibby
The Drumhead

Gerry Bibby

Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century. Their captivating passages brim with wit, wry observation, and (occasional) disgust, offering viewers “ways out,” even if only while reading.

 

Commissioned by If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, The Drumhead follows a two-year collaboration with KUB Arena of the Kunsthaus Bregenz, The Showroom London, CCA Glasgow, and the Institute of Modern Art, Brisbane. The book immodestly distills these institutional encounters into a multipart narrative that delves into the lives and psyches of those in the service industry. Exhaustion and frustration besiege a set of characters and the architecture that barely contains them, all of which are cipher-like in their multiplicity (and duplicity).

read more

Design: HIT

Publishers: If I Can’t Dance and Sternberg Press, Berlin

ISBN 978-3-95679-065-2

118 p, bw, 13.2×20 cm, pb, English, 2014


€18

add to cart
Sara van der Heide
Sara van der Heide: Mother Earth Breathing

With an outline of this new commission, and trajectory of its instalments, this brochure offers a rich selection of images and texts on this artist’s work and a comprehensive essay by theorist Nikos Papastergiadis.

read more

Design: Maureen Mooren

ISBN 978-94-92139-03-0

12 p, ills col & bw, 21×27 cm, pb, English, 2014


€5

add to cart
Snejanka Mihaylova
xxx
xxx
xxx
Emily Roysdon
Emily Roysdon: By Any Other Name / *Uncounted

In this brochure, the project is introduced and its chapters laid out with performance images and commissioned images by artist Babi Badalov, along with the original textual score for *Uncounted by Emily Roysdon.

read more

Design: Maureen Mooren

ISBN 978-94-92139-03-0

12 p, ills col & bw, 21×27 cm, pb, English, 2014


€5

add to cart
Research projects
Gregg Bordowitz
Taking Voice Lessons

Gregg Bordowitz

Invited as a researcher, Gregg Bordowitz posed himself a guiding question: “Is poetics a relevant term for current art-making, and if so how?” With this incisive query, Bordowitz brings to light insights gleaned over three decades of work across video media, art criticism, coalition-based AIDS activism, poetry, and pedagogic practice, while revisiting the concerns in his own work for freedom, autonomy, and self-determination. The publication assembles poetry, epistolary, and critical texts written by Bordowitz from 2013–14. In addition, it includes poetry and essays by Robert Duncan, a psychoanalytic text by Wilfred Bion, and poetry by Essex Hemphill and Ari Banias.

read more

ISBN: 978-90-814471-8-8

64 p, 21×27 cm, pb, English, 2014


€15

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Jacob Korczynski
I See/La Camera: I

Jacob Korczynski

For I See/La Camera: I, Korczynski took Babette Mangolte’s film The Camera: Je, La Camera: I (1977), and Lucy Lippard’s novel I See/You Mean (1979) as starting points for his research into the relationship between the subjective role of the camera in Mangolte’s film and the simultaneous exploration of text and image in Lippard’s novel. I See/You Mean and The Camera: Je, La Camera: I are situated in the context of feminist strategies of self-portraiture. The publication includes a research essay by Korczynski, a visual essay by Babette Mangolte, and a collaborative text/drawing by Lucy Lippard and Sol LeWitt produced during the development of Mangolte’s novel.

read more

ISBN 978-90-814471-5-7

64 p, ills col, 21×27 cm, pb, English, 2014


out of stock

Sven Lütticken
Lousie Lawler: A Movie Will Be Shown Without The Picture

Sven Lütticken

Louise Lawler’s A Movie Will Be Shown Without the Picture (1979) presents a movie in a regular cinema environment, but without any moving images. The movie accentuates the experience of watching a movie and foregrounds the performative aspects of the practice of an artist who is perhaps best known for her photographs of “arranged” artworks and objects. This publication is the result of extensive research project on A Movie and its 2012 iteration, undertaken by researcher Sven Lütticken and Louise Lawler for If I Can’t Dance. The publication includes a research essay by Lütticken that places A Movie in the context of cultural developments in the 1970s and contemporaneous works by the Pictures Generation, a sequence of images selected by Lütticken from Lawler’s archive, and contributions by art historians Debbie Broekers, Eve Dullaart, and Daniël van der Poel.

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ISBN 978-90-814471-6-4

64 p, ills col & bw, 21×27 cm, pb, English, 2014


out of stock

Grant Watson
How We Behave

Grant Watson

Grant Watson’s How We Behave was inspired by an interview of the same title with Michel Foucault, published in Vanity Fair in 1983, in which Foucault asked, why can’t life be the “material for a work of art?” The project by Watson extends this provocation by asking: “If art is expanded to include life practice, then how does the curatorial intervene?” In more than fifty interviews, conducted in New York, São Paulo, Los Angeles, San Francisco, London, and Amsterdam, the project explores how people shape their lives. This publication includes stills of the video portraits, an essay by Watson introducing the notion of the “care of the self”, the original Vanity Fair interview, and interviews with Leo Bersani and Paul Rabinow.

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ISBN 978-90-814471-7-1

64 p, ills col, 21×27 cm, pb, English, 2014


out of stock

2010–12
Affect
Reading Group
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Radio Emma
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Symposium
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Commissions
Jeremiah Day
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Sung Hwan Kim
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Hito Steyerl
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Emily Wardill
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Wendelien van Oldenborgh
Amateur: Wendelien van Oldenborgh

Edited by Wendelien van Oldenborgh and Emily Pethick with David Morris

Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving-image work and accompanying installations. Developed over the past ten years, these works explore communication and interaction between individuals, often set against the backdrop of a unique public location in order to cast attention towards repressed, incomplete, and unresolved histories. Through the staging of these encounters in film, Van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions. The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with Van Oldenborgh, and offer in-depth observations and reflections on a work from her oeuvre.


acknowledgements

Contributors: Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, Grant Watson

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Design: Julia Born

Publishers: If I Can’t Dance;
The Showroom, London;
and Sternberg Press, Berlin

Distribution: Sternberg in selected bookshops worldwide

396 p, ills col, 17.5×24.5 cm, hc, cloth binding, English/Dutch, 2016

ISBN 978-3-95679-191-8


€35

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Research projects
Bulegoa z/b
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Marie de Brugerolle
Guy de Cointet’s Five Sisters

Edited by Frédérique Bergholtz and Vivian Ziherl

This publication concentrates on Five Sisters, a performance Guy de Cointet developed together with Light and Space artist Eric Orr in 1982. In Five Sisters, the affective well-being of five women is explored as they have changing, restless encounters in their parental home, discussing issues around wardrobe, suntans, health, exotic holidays, work, and painting. The play holds an exceptional place in De Cointet’s oeuvre, as it presents a shift in his attention to the emotional quality of objects towards light and colour. This book is the outcome of an extensive research project around the restaging of this performance with If I Can’t Dance, reflecting the research questions that emerged around the meaning, sources, and context of the original performance and its restaging.


acknowledgements

Contributors: Marie de Brugerolle, Guy de Cointet, Elizabeth Orr, Snejanka Mihaylova; with an annotated interview by Vivian Ziherl with performers Violeta Sanchez, Einat Tuchman, Adva Zakai, Veridiana Zurita

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64 p, ills col & bw, 21×27 cm, pb, English, 2014


€15

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Vanessa Desclaux
Matt Mullican’s Pure Projection Landscapes

Vanessa Desclaux

Since the late 1970s Matt Mullican has developed a practice of performing under hypnosis that extends from his investigations into representation and subjective projection, and from his efforts to “enter the image” and embody a fictional character, a body of work that offers an exceptional perspective on repetition and renewal in performance practice. This book is the outcome of an extensive research project into Mullican’s hypnosis performances, undertaken within the frame of If I Can’t Dance’s Performance in Residence programme with invited researcher Vanessa Desclaux, and a two-day Class of Masters with Mullican on character construction. Desclaux takes up the question of personification in light of her analysis of Mullican’s hypnosis performances. A selection of Mullican’s photographs and works on paper are reproduced in this book.

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ISBN 9789081447140

64 p, ills col, 21×27 cm, pb, English, 2014


€15

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Inti Guerrero
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2008–10
Commissions
Keren Cytter
Keren Cytter: D.I.E. Now – The True Story of John Webber and His Endless Struggle with the Table of Content

Edited by Frédérique Bergholtz and Maaike Gouwenberg

The publication focuses on the development of the performance The True Story of John Webber and His Endless Struggle with the Table of Content, and on the working process within D.I.E. Now, the dance company that was established as a result of Cytter’s collaboration with the performers in this piece.

Catherine Wood contributes an essay that situates the performance in the context of the history of international dance; Cytter presents a selection of gestures from the choreography of the performances; and performers Andrew Kerton and Dafna Maimon contribute short essays that offer insight into the different stages of the performance on tour. 

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Design: Maureen Mooren

Publishers: If I Can’t Dance and Sternberg Press, Berlin

ISBN 978-3-943365-25-2

36 p, col ills, 24×33 cm, hc, English, 2012

 

 


€19

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Jon Mikel Euba
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Olivier Foulon
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Suchan Kinoshita
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Joachim Koester
Joachim Koester: I Myself Am Only A Receiving Apparatus

Edited by Frédérique Bergholtz and Kristin Schrader

This book focuses on the performative and the human body in Koester’s work, which is based on intensive archival research and characterized by what he calls “narrative knots”—the multitude of stories, facts and references that make up his notion of history.


acknowledgements

Contributors: 

Magali Arriola, Frédérique Bergholtz, Martin Germann, Veit Görner, Joachim Koester, Linda Norden, Marco Pasi, Kristin Schrader, Yann Chateigné Tytelman

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Design: Maureen Mooren with Sandra Kassenaar and Stephen Serrato

Publishers: If I Can’t Dance; kestnergesellschaft, Hanover; and Verlag der Buchhandlung Walther König, Köln

ISBN  978-3-86335-086-4

440 p, bw ills, 30×21 cm and 22.5×14 cm, pb, English, 2012


€35

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Sarah Pierce
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Masquerade
Reading Group
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Radio Emma
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Symposium
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2006–08
Commissions
Alexandra Bachzetsis
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The Otolith Group
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Will Holder
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Karl Holmqvist
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Jutta Koether
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Maria Pask
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Sarah Pierce
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Falke Pisano
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Stefanie Seibold
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Frances Stark
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Haegue Yang
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Katarina Zdjelar
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Feminist Legacies and Potentials
Reading Group
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Symposium
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2005
Commissions
Johanna Billing
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Matti Braun
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Gerard Byrne
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Yael Davids
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Mariana Castillo Deball
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Radio group LIGNA
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