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

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

In this show we ask how modes of display can complicate the way objects and practices are perceived and attended to. What constitutes display, especially when display is the public showing and sharing of performative and ritual-based practices?

 

The contemporary arts are registering a resurgence of interest in ancient traditions and alternative systems of knowledge. At the same time, contemporary curators are facing increasingly important challenges to rethink collections and displays that are often the result of Western colonial displacement. Even in societies globally connected certain objects still bear a trace of a specific place and knowledge. But displacement can also be a generative association for artists, by addressing the way intergenerational knowledge and practices are passed on or lost, finding new shapes today.

 

With us, discussing how we can rethink display in its tension with displacement, are three invited guests: artist and researcher Charl Landvreugd, research programmer and curator Rita Ouedraogo and artist Jay Tan.

 

The radio show will be broadcast live from the office. Audience is welcome to attend at the office, join us 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 first radio show focused on rituals of the everyday and you can listen to the podcast here.


Acknowledgements

Host: Giulia Damiani

Technician: Monty Mouw

Jingle: Radna Rumping

 

With thanks to Ja Ja Ja Nee Nee Nee

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

Rituals of the everyday

Radio
Wednesday 18 December 2019, 13–14hr

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; Margriet Minnema, secular chaplain working in prisons; 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
 

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
Reader
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

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.

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
Reading Group
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

Lecture
Reader
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
2015–16
Commissions
Leonor Antunes

Finale: An Open House

Performance
Saturday 10 December 2016, 12–13hr
Leonor Antunes, ‘An Open House’ (2016), performance. Photo: Nick Ash.

Twelve women dressed in as many striking colours of Aldo van Eyck’s Hubertushuis – designed in 1973 as a home for mothers in difficulty – stand on its balconies and behind its windows. The public is told nothing about what they might see, allowed access to one of the two conjoined structures, but not the one occupied by the performers.


Acknowledgements

Performers: Leonor Antunes, Frédérique Bergholtz, Sara Campos, Valentina Curandi, Tess van Eyck, Tiana Hemlock-Yensen, Iva Supic Jankovic, Laima Jaunzema, Avan Omar Muhammad, Kristel Rigaud, Helen Zeru, Elisa Zuppini

Hubertushuis

Plantage Middenlaan 33, 1018 DB Amsterdam

The Netherlands

 

€5 adults / students

Introduction

Installation
Sunday 24 January 2016, 11.30–18.30hr
Leonor Antunes, no title (2016), installation. Photo: Kyle Tryhorn.

The elastic golden thread hooked over nails and stretched across the entrance windows solicits thoughts of modernist architect Eileen Gray. The opponent of Le Corbusier’s philosophy is channelled through this shimmering vector that ‘emanates to the world’ from J.B. Ingwersen’s building – inspired by Le Corbusier’s Unité d’Habitation and its principals of living – where this edition’s artists are introduced. Also a high school, the space embraces learning, becoming and testing ideas.

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Leonor Antunes and her commission

Biography

Leonor Antunes (b. 1972, Lisbon. Lives in Berlin) creates sculptures that reflect the environment that surrounds them and make reference to the work of lesser-known figures from the history of twentieth-century architecture and design. This commission is lodged in her research into architects Aldo van Eyck and Lina Bo Bardi.

Alex Martinis Roe

To Become Two

Screening and Salon
Wednesday 2 May 2018, 20–22hr
Thursday 3 May 2018, 18.30–20.30hr
Alex Martinis Roe, ‘To Become Two’ (2016-2017), salon. Photo: Photo: Hervé Veronese.

In the frame of Centre Pompidou’s programme Mai 68 – Assemblée Générale, this film presentation derives from a larger work that traces the genealogy of ‘feminist new materialist’ and ‘sexual difference’ theory. In addition, ten participants gather to reflect on the focus they each have on feminism today and their relationship to 1970s feminisms.


Acknowledgements

Co-commissioned with ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body

Centre Pompidou
Place Georges-Pompidou, 75004 Paris
France

 

Free

To Become Two: Propositions for Feminist Collective Practice

Book Launch
Monday 30 April 2018, 18–20hr

Accompanied by a screening of the artist’s Their desire rang through the halls and into the tower highlighting five practices developed within the Gender Studies programme at Utrecht University: double-track approach to institutional politics, international networking, pluralism, affirmative critique and transdisciplinarity. Followed by a conversation between the artist, Casco curator Staci Bu Shea and If I Can’t Dance curator and book co-editor, Susan Gibb.


Acknowledgements

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body

Casco Art Institute: Working for the Commons
Lange Nieuwstraat 7, 3512 PA Utrecht
The Netherlands

 

Free

To Become Two

Exhibition and Book Launch
Friday 27 April – Friday 25 May 2018

The six film installation traces the stories of as many connected feminist groups since the 1970s who have built communities in Europe and Australia. Through observation, interviews and archival research the artist proposes how to grapple with contemporary society through feminist methodologies. The final film, Our Future Network, offers twenty propositions for feminist collective political practices.


Acknowledgements

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body        

 

The book launch is supported by the Research School of Humanities and the Arts at the Australian National University

Exhibition Opening and Book Launch: Friday 27 April, 19–23.30hr

Archive Kabinett

Müllerstraße 133, 13349 Berlin

Germany

 

Free

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

To Become Two

Exhibition, Workshop and Salon
Friday 8 September – Sunday 26 November 2017
Exhibition Opening: Thursday 7 – Friday 8 September 2017, 19–02hr
Public Salon: Saturday 21 October 2017, 14–16.30hr
Workshop: Saturday 7 – Sunday 8 October 2017, 10–17hr
Open daily: Tuesday – Friday, 11–19hr and Saturday / Sunday / holidays, 11–17hr

Six films trace the stories of as many feminist groups since the 1970s who have built communities in Europe and Australia. Through observation, interviews and archival research the artist proposes feminist methodologies for contemporary times. The final film, Our Future Network, offers twenty related propositions. A workshop and public salon led by the artist engages with local contributors on historical feminist practices in the film to develop further political practices.


Acknowledgements

Curators: Anja Casser, Didem Yazici

Exhibition design: Fotini Lazaridou-Hatzigoga

Poster series design: Chiara Figone

 

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body

Badischer Kunstverein

Waldstraße 3, 76133 Karlsruhe

Germany

 

€ 3 adults / €1,50 reduced / Friday, 14–19hr free / Public Salon free / Workshop free with reservations, bio and statement of motivation

To Become Two

Exhibition, Workshop and Salon
Wednesday 26 April – Saturday 10 June 2017
Exhibition Opening: Tuesday 25 April 2017, 18.30hr
Public Salon: Saturday 27 May 2017, 14–18hr
Open Session: Monday 22 May 2017, 18–21hr
Workshop: Friday 19 / Saturday 20 / Tuesday 23 May 2017, 18–21hr
Introduction: Thursday 18 May 2017, 19–21hr
Open daily: Wednesday – Saturday, 12–18hr
Alex Martinis Roe, ‘To Become Two’ (2016-2017), exhibition. Photo: Daniel Brooke.

Six films trace the stories of as many feminist groups since the 1970s who have built communities in Europe and Australia. The final film, Our Future Network, offers twenty related propositions. A workshop programme led by the artist extends on Our Future Network propositions for feminist practices according to participants including Helena Reckitt, Senior Lecturer in Curating at Goldsmiths, University of London, featured in the film. Findings are presented in a public salon.


Acknowledgements

Curators: Anja Casser, Didem Yazici

Exhibition design: Fotini Lazaridou-Hatzigoga

Poster series design: Chiara Figone

 

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body        

 

Each film is produced with additional support from the Art Gallery of New South Wales, Sydney; BAR Project, Barcelona; The Blank Residency, Bergamo; Centre Intermondes, La Rochelle; Cross Art Projects, Sydney; Gender Studies, Utrecht University, Utrecht; the Samstag Program, Adelaide; and Viafarini-in-Residence, Milan

The Showroom

63 Penfold St, Marylebone, London NW8 8PQ

United Kingdom

 

Free, reservations for events only

To Become Two

Exhibition
Saturday 25 February – Saturday 6 May 2017
Exhibition Opening: Friday 24 February, 19hr
Artist Talk: Thursday 27 April 2017, 19hr
Open daily: Tuesday – Friday 10–13hr and 15–19hr, Saturday 10–13hr
Alex Martinis Roe, ‘To Become Two’ (2016-2017), exhibition. Photo: Tiberio Sorvillo.

Six films trace the stories of as many feminist groups since the 1970s who have built communities in Europe and Australia. Through observation, interviews and archival research the artist proposes feminist methodologies for contemporary times. The final film, Our Future Network, offers twenty related propositions. Martinis Roe responds to questions gathered from viewers using storytelling, political theory and diagrams considering possible futures that open out from the project.


Acknowledgements

Curator: Emanuele Guidi

Exhibition design: Fotini Lazaridou-Hatzigoga

Poster series design: Chiara Figone

 

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body        

 

Each film is produced with additional support from the Art Gallery of New South Wales, Sydney; BAR Project, Barcelona; The Blank Residency, Bergamo; Centre Intermondes, La Rochelle; Cross Art Projects, Sydney; Gender Studies, Utrecht University, Utrecht; the Samstag Program, Adelaide; and Viafarini-in-Residence, Milan

 

The exhibition is supported by the Autonomous Province of South Tyrol, Department of Culture; Fondazione Cassa di Risparmio, Bolzano; and City of Bolzano, Department of Culture

ar/ge kunst
Via Museo, 29, 39100 Bolzano BZ

Italy

 

Free

Finale: Our Future Network: Historiography, Public Speaking and Collective Difference

Salon
Sunday 11 December 2016, 13–18.30hr
Alex Martinis Roe, ‘Our Future Network: Historiography, Public Speaking and Collective Difference’ (2016), salon. Photo: Florian Braakman.

Invited guests pose strategies for engaging with and constructing feminist histories, in dialogue with contemporary needs, desires and practices hosted by the artist in response to a screening of the film, with comments from Deborah Withers, Ana Teixeira Pinto, choreographer Cécile Bally and Vasso Belia with fellow members of the Gender Studies community at Utrecht University.


Acknowledgements

Our Future Network: Historiography, Public Speaking and Collective Difference is curated for the Dutch Art Institute as Roaming Assembly #9

It is part of To Become Two, co-presented with Casco Art Institute: Working for the Commons, Utrecht with the support of the Keir Foundation

Dokzaal

Plantage Doklaan 8, 1018 CM Amsterdam

The Netherlands

 

€10 adults / €7,50 students

(€10 for meal and drinks)

To Become Two

Exhibition and Salon
Sunday 20 November 2016 – Sunday 29 January 2017
Exhibition Opening: Saturday 19 November 2016, 15hr
Exhibition Tour: Saturday 19 November 2016, 16hr
Salon: Sunday December 11 2016, 13–18hr
Open daily: Tuesday – Sunday 12–18hr
Alex Martinis Roe, ‘To Become Two’ (2016-2017), exhibition. Photo: Niels Moolenaar.

Six films trace the stories of as many feminist groups since the 1970s who have built communities in Europe and Australia. Through observation, interviews and archival research the artist proposes feminist methodologies for contemporary times. The final film, Our Future Network, offers twenty related propositions. With a tour by the artist and day-long salon, ‘Our Future Network: Historiography, Public Speaking, and Collective Difference’.


Acknowledgements

Curator: Emanuele Guidi

Exhibition design: Fotini Lazaridou-Hatzigoga

Poster series design: Chiara Figone

 

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

 

Workshops and performances are co-commissioned by the Keir Foundation

 

Produced with the support of the Graduiertenschule der Universität der Künste Berlin and Australian Government through the Australia Council for the Arts and its arts funding and advisory body        

 

Each film is produced with additional support from the Art Gallery of New South Wales, Sydney; BAR Project, Barcelona; The Blank Residency, Bergamo; Centre Intermondes, La Rochelle; Cross Art Projects, Sydney; Gender Studies, Utrecht University, Utrecht; the Samstag Program, Adelaide; and Viafarini-in-Residence, Milan

 

The exhibition is supported by The Autonomous Province of South Tyrol, Department of Culture; Fondazione Cassa di Risparmio, Bolzano; City of Bolzano, Department of Culture

 

The exhibition in Utrecht is financially supported by K.F Hein Fund, Fentener van Vlissingen Fund

Casco Art Institute: Working for the Commons 
Lange Nieuwstraat 7, 3512 PA Utrecht
The Netherlands 

 

Free

Our Future Network: Workshop on Trans-generational Collective Politics

Workshop
Friday 3 June 2016, 10–16hr

Considering trans-generational collective politics as part of the programme Priorities: The Talk Show provides participants with the chance to undertake exercises based on collective political practices developed by the Milan Women’s Bookstore Collective from the 1970s to today, drawing on and part of the research and methodologies of the artist’s project.

Piet Zwart Institute

Karel Doormanhof 45, 3012 GC Rotterdam

The Netherlands

 

Reservations required

Our Future Network

Workshop
Monday 2 – Thursday 5 May 2016

Twenty-seven women meet for programmed activities in a large guesthouse in the Brandenburg countryside outside Berlin, expanding on the workshop series over the past eighteen months with prepared contributions – discussions, group tasks, etc. – the artist terms ‘propositions for feminist collective practice’. The meeting provides the action for the development of the last film.


Acknowledgements

Contributors: Alejandra Avilés, Cécile Bally, Vasso Belia, Elena Betros, Federica Bueti, Åsa Elzén, Svenja Engels, Lucia Farinati, Julia Gorostidi, Janneke Koers, Fotini Lazaridou-Hatzigoga, Deborah Ligorio, Sara Paiola, Helena Pérez, Helena Reckitt, Juliette Sanchez-Lambert, Valerie Terwei, Veronica Valentini, Evelyn Wan, Lindsay Grace Weber, Lea von Witzingerode

Producer: Susan Gibb

Director of photography: Smina Bluth

Second camera: Nadja Krüger

Sound: Birte Gerstenkorn

Production assistant: Ying Que

 

Co-commissioned by ar/ge kunst, Bolzano, Casco Art Institute: Working for the Commons, Utrecht and The Showroom, London

Gutshof Sauen  

Herrn Jörn Geffers  

Zum Anger 8, D–15848 Rietz-Neuendorf  

Ortsteil Sauen  

Germany

 

Closed set

Introduction: Evolutions of Collective Desire

Conversation, Screening and Installation
Sunday 24 January 2016, 11.30–18.30hr
Alex Martinis Roe, ‘Evolutions of Collective Desire’ (2016), screening and lecture. Photo: Kyle Tryhorn.

Field notes from To Become Two mapping feminist collectives and a screening of It was an unusual way of doing politics: there were friendships, loves, gossip, tears flowers (2014) on a meeting of 300 women are presented alongside edition introductions in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living. As a functioning high school, the space encourages learning, becoming and testing ideas.

 

…min, Super 8, English

Sunday 24 January 2016, 11.30–18.30hr

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Alex Martinis Roe and her commission

Biography

Alex Martinis Roe (b. 1982 Melbourne. Lives in Berlin) is an artist with a focus on feminist genealogies fostering productive relations. The network of practitioners for this project develop and perform collective political practices as subject and methodology for a non-linear documentary film with an installation, workshops, public events and a publication.

Naufus Ramírez-Figueroa

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Requiem for Mirrors and Tigers

Book Launch
Thursday 5 April 2018, 19hr

Charting his attempt to exhaust his interest in the Guatemalan Civil War, the publication is launched with the artist and If I Can’t Dance’s Frédérique Bergholtz and Susan Gibb alongside an exhibition of the complete collection of video works documenting the performance cycle.

grunt gallery

50 E 2nd Ave, Vancouver, BC V5T 4R8 

Canada

 

Free

Requiem for Mirrors and Tigers

Exhibition
Thursday 22 February– Saturday 21 April 2018
Exhibition Opening: Thursday 5 April 2018, 19hr
Open daily: Tuesday – Saturday, 12–17hr

This solo presentation debuts the complete collection of video works documenting a three-year performance cycle. The artist uses his body and direct action to perform six images related to the Guatemalan Civil War, his personal position softening images through abstraction and humour while the intense performance schedule pushes beyond the immense force of the collective and inscribed memory of the war’s history. Here videos are featured as part of Capture Photography Festival.


Acknowledgements

Curator: Glenn Alteen

 

Produced as part of Ramírez-Figueroa’s commission with Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

grunt gallery

50 E 2nd Ave, Vancouver, BC V5T 4R8 

Canada

 

Free

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

Illusion of Matter, The Print of Sleep, Mimesis of Mimesis and Linnæus in Tenebris

Exhibition
Thursday 16 November, 17–20hr and Friday 17 – Sunday 19 November 2017, 11–18hr

Four video works see the artist use his body and direct action to perform a series of images related to the history of the Guatemalan Civil War at punctuated moments and locations across a three-year period. The personal approach soften images of the war through abstraction and humour, while the intensity of the performance schedule is used to push beyond the immense force of the collective and inscribed memory of the war’s history.


Acknowledgements

Produced as part of Ramírez-Figueroa commission with Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

 

Illusion of Matter is produced by Tate Modern

 

Linnæus in Tenebris is produced by CAPC Bordeaux as part of the artist’s eponymous solo exhibition

Playground, Leuven

Leopold Vanderkelenstraat 28, 3000 Leuven

Belgium

 

€12 adults / €5 youth

Brazilian Tour: Fino Fantasma

Performance
Wednesday 12 July 2017, 20hr
Naufus Ramírez-Figueroa, ‘Fino Fantasma’ (2017), videostill. Video: Temra Pavlovic.

Fluorescent lights are arranged across modernist open-planned floors and surrounded by ceremonial objects – candles, cigars, bowls of honey and perfume, roses from the sellers at the city’s cemetery – selected for their ties to Spiritsm, ‘dedicated to the relationship between incorporeal beings and human beings’. Performers communicate from their stations by using the objects, at times setting fire to patterns left over from their intuitively sewn together white-gauze shirts.


Acknowledgements

Performers: Ricardo Januário, Natália Mendonça, Martha Kiss Perrone, Naufus Ramírez-Figueroa

 

Commissioned and produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

 

The Brazilian Tour of Edition VI – Event And Duration (2015—16) is generously supported by the Mondriaan Fund through the Brazil intensification programme financed by the Dutch Ministry of Foreign Affairs

Casa do Povo

Rua Três Rios, 252 – Bom Retiro, São Paulo 01123-000

Brazil

 

Free

Linnæus in Tenebris

Exhibition and Performance
Thursday 18 May – Sunday 24 September 2017
Performance: Thursday 18 and Saturday 20 May, 19.30 and 20hr
Open daily: Tuesday – Sunday, 11–18hr
Naufus Ramírez-Figueroa, ‘Linnæus in Tenebris’ (2017), performance. Photo: CAPC.

The site-specific installation is presented with the fifth and final performance in this cycle along with the four previous videos. Focusing on eighteenth-century Swedish botanist Carl Linnaeus who created a nomenclature to classify living species, a cold and bleak atmosphere of a farm emerges where hybrid species are grown on an industrial scale, addressing a recurrent theme in the artist’s work: the suffering of land and the people who farm it.


Acknowledgements

Curator: Alice Motard

Performers: Wingston González, Juan Malonado

 

Commissioned and produced as part of Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

CAPC musée d’art contemporain de Bordeaux

7 Rue Ferrere, 33000 Bordeaux

France

 

€7 adults / €4 reduced rate

Finale: Mimesis of Mimesis

Performance
Thursday 24 November 2016, 21.30hr
Naufus Ramírez-Figueroa, ‘Mimesis of Mimesis’ (2016), performance. Photo: Florian Braakman.

Through a string of rooms established to study tropical cultures, the viewer passes embroidered silk wallpaper, colonial artefacts, a sofa with its springs revealed, a pile of chairs denuded of seats, and then the artist, atop decaying pillows, a Venus, string twined around buttons stitched into their skin – a piece of furniture, a mediation on the body, scars and mimicry. Accompanied by video works of the two other performances.


Acknowledgements

Commissioned and produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

Royal Tropical Institute

Mauritskade 63, 1092 AD Amsterdam

The Netherlands

 

Free

Premiere

The Print of Sleep

Performance
Saturday 30 April 2016, 21.15hr
Naufus Ramírez-Figueroa, ‘The Print of Sleep’ (2016), performance. Photo: Frank Sperling.

This meditative dreamlike scene recalls an emergency response shelter, combining printmaking with human surfaces and bedtime rituals. The artist paints metal bedframes, guiding performers to be imprinted by them; the bed’s tattooed pattern connotes ‘parrilla’, where victims of the Guatemalan Civil War were strapped to metal frames and given electric shocks. Presented at the conclusion of performance programme Sunrise Sunset at KW Institute for Contemporary Art.


Acknowledgements

Performers: André Pires Sequeira de Abreu, Sarah Bungarz, Roni Katz, Adalisa Menghini, Nasheeka Nedsreal Netter, Lukas Olfe, Naufus Ramírez-Figueroa, Lia Ur, Martin Weller

 

Curators of Sunrise Sunset: Catherine Wood and Adela Yawitz

 

Commissioned and produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

KW Institute for Contemporary Art

Auguststraße 69, 10117 Berlin

Germany

 

€8 adults / €6 reduced

Life in His Mouth, Death Cradles Her Arm

Film
2016
Naufus Ramírez-Figueroa, ‘Life in His Mouth, Death Cradles Her Arm‘ (2016), videostill. Video: Amenotep Cordova, Jose Miguel Orozco, Robert Breske.

The film is made in a cemetery in the artist’s hometown.


Acknowledgements

Performer: Naufus Ramírez-Figueroa
Camera: Amenotep Córdova, José Miguel Orozco
Editor: Robert Beske, Shrine Production

 

Commissioned and produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

Guatemala City

Guatemala

 

Closed set

Introduction: The Print of Sleep

Performance
Sunday 24 January 2016, 11.30–18.30hr
Naufus Ramírez-Figueroa, ‘The Print of Sleep’ (2016), performance. Photo: Kyle Tryhorn.

Six dormitory-style bedframes make an emergency response shelter out of a high school gym. The artist paints each cot, guiding performers to be imprinted; the bed’s tattooed pattern connotes ‘parrilla’, where victims of the Guatemalan Civil War were strapped to metal frames and given electric shocks. Presented with other introductions to this edition in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living.


Acknowledgements

Performers: Peter Baeyens, André van Bergen, Tara-Jay van Bergen, Ivan Cheng, Yael Davids, Laima Jaunzema, Naufus Ramírez-Figueroa, Rik Schlamé, Joy M. Smith, Maya Tamir

 

Produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

 

Special thanks to Cygnus Gymnasium

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Premiere

Illusion of Matter

Performance
First Performance: Thursday 3 December 2015, 20hr
Naufus Ramírez-Figueroa, ‘Illusion of Matter’ (2015), live-streamed performance.

This new commission from If I Can’t Dance presented within BMW Tate Live: Performance Room comprises a corridor of brightly hued sheets hung like theatre wings, swiftly crowded by children carrying oversized props – a claw, twigs – switched out on the artist’s command for animals and fruit, and then, at their behest once more, destroyed, after which the artist approaches the camera. Followed by Q&A between with curator Catherine Wood.

 

Video, 4 min 55 sec, col, sound


Acknowledgements

Performers: Augustine, Harriet, Miley, Nina, Otis, Sonny, Naufus Ramírez-Figueroa

 

Produced by Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

Tate Modern

Bankside, London SE1 9TG

United Kingdom

 

Available online [link]

Naufus Ramírez-Figueroa and his commission

Biography

Using theatre, drawing, literature and sculpture, the work of artist Naufus Ramírez-Figueroa (b. 1978, Guatemala City. Lives in Guatemala City) conjures live and sculptural representations that explore themes of loss, identity and displacement. Ramírez-Figueroa develops a cycle of new performances that attempt to exhaust his interest in the Guatemalan Civil War as the recurring subject of his work.  

Joke Robaard

Brazilian Tour: Small Things That Can Be Lined Up

Workshop, Screening and Lecture
Wednesday 12 July 2017, 16.30hr 
Joke Robaard, ‘Small Things That Can Be Lined Up’ (2016), workshop. Photo: Temra Pavlovic.

The video on the artist’s reorganised archive – drawn from fashion magazines and other media sources with eight teenage students from Amsterdam – is overlaid with passages from philosophers Plato and Vilém Flusser addressing images, text and textiles. Accompanied by a lecture on Flusser’s essay ‘Our Clothes’ by artist, editor and translator Rodrigo Maltez Novaes and a performative workshop in which Robaard invites different practitioners to make configurations with the fashion photographs.

 

45 min, col, English


Acknowledgements

Workshop contributors: Frédérique Bergholtz, Lot Meijers, Rodrigo Maltez Novaes, Maurizio […], Ateliê Vivo members, Pontifical Catholic University of São Paulo students, São Paulo Reading Group

 

The Brazilian Tour is generously supported by the Mondriaan Fund through the Brazil intensification programme financed by the Dutch Ministry of Foreign Affairs

Casa do Povo

Rua Três Rios, 252 – Bom Retiro, São Paulo 01123-000

Brazil

 

Free

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

Finale: Open Reading Group

Reading Group
Saturday 3 December 2016, 17hr
Joke Robaard, Open Reading Group, (2016). Photo: Florian Braakman.

Reading materials from the artist’s archive of photographs and related texts drawn from fashion magazines and other media sources are given in preparation, with participants asked to read sections of Plato’s The Statesman and Vilém Flusser’s essay Our Images, central points of interest in addressing the magic of images, text and textile.

Dokzaal

Plantage Dok 8–12, 1018 CM Amsterdam

The Netherlands

 

Free

Finale: Small Things Can Be Lined Up

Screening and Book Launch
Friday 25 November 2016, 17hr
Joke Robaard, ‘Small Things That Can Be Lined Up’ (2016), video.

The artist’s reorganised archive of photographs and related texts drawn from fashion magazines and other media sources is in part performed with eight students through text rehearsals and discussions. Images are intersected accompanied by passages from Plato and Vilém Flusser, evolving a game-like structure in which latent historical, political and social information is embedded within the archive. Hosted in the artist’s studio.

 

45 min, col, English

Wittenburg Studios

Derde Wittenburgerdwarsstraat 1, 1018 KR Amsterdam

The Netherlands

 

Free

(meal included)

Premiere

Introduction: Small Things That Can Be Lined Up

Workshop
Sunday 24 January 2016, 11.30–18.30hr
Joke Robaard, ‘Replacing Magical Images’ (2016), workshop. Photo: Kyle Tryhorn.

Cygnus Gymnasium students perform ‘an access’ to the artist’s image archive garnered from fashion magazines in an exploratory workshop that guides their selections for texts as foci across the project. Presented with other introductions to this edition in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living that is also a functioning high school, encouraging learning, becoming and testing ideas.


Acknowledgements

Students: Sarah Ashworth, Luca Bonsangue, Jacquy Chellit, Noah Claassen, Milo Fordham, Marijn Huijers, Eva Vlasblom, Jona Wolff

 

Special thanks to Cygnus Gymnasium

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Joke Robaard and her commission

Biography

Artist Joke Robaard (b. 1953, Meppel, the Netherlands. Lives in Amsterdam) connects social research, material culture and photography with philosophy, textile and fashion theory.

 

For the commission she performs her archive of photographs and related texts from fashion magazines and other media over a 38 year period through workshops and a video on assemblages of images with captions and texts.

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

Chroma Lives

Conversation
Saturday 3 December 2016, 15–16.30hr
Erin Alexa Freedman and Lili Huston-Herterich with Grant Watson, ‘Chroma Lives’ (2016), conversation. Photo: Florian Braakman.

In their final presentation the researchers, in conversation with Grant Watson, provide a narrative on restaging a historical exhibition through contemporary works with a shared interest in art, design and collaborative practices. Aspects of the archive appear with works from Chromaliving as well as by contemporary Toronto artists who presented in its condominium restaging Chroma Lives. It is set within a mise en scène by Amsterdam-based art and design practitioners.


Read more

Grant Watson (lives in London) is a curator and researcher who previously developed the interview project How We Behave with If I Can’t Dance and is well known for his curatorial work on textiles and textile histories.


Acknowledgements

Moderator: Grant Watson

Contributors to mise en scène: Frédérique Bergholtz, Lot Meijers, Maria Pask, Physical Culture (Julie Héneault, Margaux Parillaud, Ursula Marcussen and Line-Gry Hørup), Anna Reutinger, Simon Skatka Lindell and more

Chroma Lives is supported by Camrost Felcorp and the Toronto Friends of the Visual Arts

Dokzaal

Plantage Doklaan 8–12, 1018 CM Amsterdam

The Netherlands

 

Free, reservations required

Chroma Lives

Exhibition
Wednesday 1 – Thursday 30 June 2016
Exhibition Opening: Friday 3 June 2016, 18–21hr
Artists’ Talk: Friday 3 June 2016, 18.30–17.30hr
Open daily: Saturday – Thursday, 12–18hr
Erin Alexa Freedman and Lili Huston-Herterich, ‘Chroma Lives’ (2016), exhibition. Photo: Lili Huston-Herterich.

Chromaliving occupied a former department store with a theatricalised vision of contemporary living through domestic room displays outfitted with artist-made furniture, dressed mannequins, appliances and interior decoration. Chroma Lives as rejoinder exhibition takes over a condominium presentation centre in Toronto. Works by contemporary artists in remarkable affinity with the art and design practices advanced nearly 40 years before stand alongside an archive of ephemera and oral histories documenting the original event.


Acknowledgements

Artists: works by Joshua Brolly, Connor Crawford, Laura Dawe, Mike Goldby, Heather Goodchild, Oliver Husain, Tim Jocelyn, Laurie Kang, Jeremy Laing, Brittany MacDougall, Tammy McClennan, Pasha Moezzi, Manden Murphy, Roula Partheniou, Shakeel Rehemtulla and Dynasty, Wanze Song, Kristian Spreen and Brad Tinmouth; ‘Artists Collectives and Site-Specificity’, a talk by ChromaZone members Andy Fabo, Oliver Girling and Rae Johnson; Toronto Reading Group session led by Jacob Korczynski; and performances by Zeesy Powers and Andrea Spaziani

 

Produced with the additional support of Camrost Felcorp and the Toronto Friends of the Visual Arts

 

Special thanks to oral history archive participants John Adams, Jane Buyers, Andy Fabo, Elinor Rose Galbraith, Erella Ganon, Carla Garnet, Eldon Garnet, Oliver Girling, Rae Johnson, Stella Melchiori-Malouf, Natalie Olanick, Andrew James Paterson, Emily Smit-Dicks and Dot Tuer; all exhibiting artists for furnishing the room hosting the many June activities; and mentors, friends and supporters: Chris Barless, Andy Fabo, Mimi Fullerton, Martha Jocelyn, Matthew Jocelyn, Parker Kay, Sue Kidd, Tanner Kidd, Toronto Friends of the Visual Arts, Carol Weinbaum and the artists and craftspeople of Chromaliving

Camrost Felcorp Yorkville Plaza Sales Centre

21 Avenue Road, Toronto, ON M5R 1A8

Canada

 

Free

Introduction: Chroma Lives

Sunday 24 January 2016, 11.30–18.30hr
Erin Alexa Freedman and Lili Huston-Herterich, ‘Chroma Lives’ (2016), lecture. Photo: Kyle Tryhorn.

The archive as performative medium – with respect to Toronto-based artist collective Chromazone’s 1983 show Chromaliving – in relation to contemporary work poses challenges, in addition to that of making a uniquely ‘liveable’ exhibition. This discussion coincides with other edition introductions in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living. Also a functioning high school, the space encourageslearning, becoming and testing ideas.


Acknowledgements

Special thanks to Cygnus Gymnasium

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Erin Alexa Freedman & Lili Huston-Herterich and their research project

Biography

Erin Alexa Freedman (b. 1988, Toronto. Lives in New York) is a curator and writer who approaches textiles as starting points for research into colonial contact and indigenous agency.

 

Lili Huston-Herterich (b. 1988, Toronto. Lives in Toronto) is an artist and curator with a focus on multidisciplinary installation whose studio practice considers how space affects the choreography of bodies. 

 

Their performative archive project on Chromaliving: New Designs for Living (1983) – a sprawling exhibition in a former Toronto department store replete with furniture and dressed mannequins – reanimates this vanguard art and design show in suturing it to contemporary practices.

Fred Moten and Wu Tsang

Gravitational Feel

Installation and Performance
Thursday 21 November 2019, 19–20hr
Fred Moten and Wu Tsang, ‘Gravitational Feel’ (2016), installation and performance. Photo: Florian Braakman.

Making use of fabric and sound, ‘chance events’ are produced that relate to the social and physical significance of touch and voice, space and time, while maintaining the mystery of who we are and what we know. Presented as part of five performance days put on by Arika and Tramway titled Episode 10: A Means Without End.

Tramway

25 Albert Drive, G41 2PE Glasgow

Scotland

 

Pay what you can

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

Gravitational Feel

Installation and Performance
Friday 25 March 2017, 21–22hr
Fred Moten and Wu Tsang, ‘‘Gravitational Feel’ (2017), installation and performance. Photo: Tate.

Making use of fabric and sound, ‘chance events’ are produced that relate to the social and physical significance of touch and voice, space and time, while maintaining the mystery of who we are and what we know. Presented as part of Ten Days Six Nights at the BMW Tate Live Exhibition.


Acknowledgements

Curators: Catherine Wood and Andrea Lissoni with Isabella Maidment and Carly Whitefield

 

Commissioned and produced as part of Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

Tate Modern

Bankside, SE1 9TG London

United Kingdom

Who touched me?

Book Launch
Sunday 27 November 2016, 19–21hr
Fred Moten and Wu Tsang, ‘Who Touched Me?’ (2016), book launch. Photo: Florian Braakman.

The companion to sculptural performance Gravitational Feel is launched with the authors and the publication designer Will Holder. Audience ask questions to which Moten responds with songs from his laptop.

San Serriffe

Sint Annenstraat 30, 1012 HE Amsterdam

The Netherlands

 

Free

Finale: Gravitational Feel

Installation and Performance
Saturday 26 November 2016, 10.30hr, installation accessible 12–16hr
Sunday 27 November 2016, 16hr, installation accessible 13–16hr
Fred Moten and Wu Tsang, ‘Gravitational Feel’ (2016), installation and performance. Photo: Florian Braakman.

Fabric and sound are used to produce ‘chance events’ relating the social and physical significance of touch and voice, space and time, while maintaining mystery of who we are and what we know. The sculpture performance sees its makers cohabit the roles of poet and performance artist.


Acknowledgements

Commissioned and produced as part of Corpus, European network for performance practice. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European Union

Splendor

Nieuwe Uilenburgerstraat 116, 1011 LX Amsterdam

The Netherlands

 

Free, reservations recommended

Premiere

Introduction: Girl Talk

Screening
Sunday 24 January 2016, 11.30hr
Fred Moten and Wu Tsang, ‘Girl Talk’ (2015), video. Photo: Kyle Tryhorn.

Moten moves in a sunny backyard wearing a cape with crystal-decorated lapels before Tsang’s camera. Experimental musician Josiah Wise’s rendition of the eponymous jazz standard is soundtrack to this humble, sometimes slow motion, example of the attuned collaboration. Presented with other edition introductions in a J.B. Ingwersen-designed building – inspired by Le Corbusier’s Unité d’Habitation and its principals of living – and operational high school to engender learning, becoming and testing ideas.

 

…min, col,


Acknowledgements

Special thanks to Cygnus Gymnasium

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Fred Moten & Wu Tsang and their research project

Biography

Fred Moten (b. 1962, Las Vegas. Lives in Los Angeles) is a poet and scholar whose work explores black studies, performance studies, poetry and critical theory.

 

Wu Tsang (b. 1982. Lives in Los Angeles) is an artist, performer and filmmaker whose work  is concerned with hidden histories, marginalised narratives and the act of performing itself.

 

Their sculptural performance uses fabric and sound to produce ‘chance events’ relating the social and physical significance of touch and voice, space and time, while maintaining mystery of who we are and what we know.

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.

read more

ISBN 978-94-92139-07-8

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


€15

add to cart

Brazilian Tour: Alejandra Riera: … – OHPERA – MUET – … [… – MUTE – OHPERA – …]

Thursday 13 July 2017, 20hr
Alejandra Riera, .. ‘– OHPERA – MUET – ... [... – MUTE – OHPERA – ...]’ (2017), videostill.

This film by Alejandra Riera realised with Ueinzz revolves around spaces of history, constructions and demolitions, such as the 2014 removal of Columbus statue in Buenos Aires. It engages stories and storytellers, female narrators for whom there is often no space, so that space has to be produced.

 

… min, bw, Portuguese


Acknowledgements

The Brazilian tour of Edition VI – Event And Duration (2015—16) is generously supported by the Mondriaan Fund through the Brazil intensification programme financed by the Dutch Ministry of Foreign Affairs

Fundação Joaquim Nabuco – Cinema do Museu

Av. 17 de Agosto, 2187 – Casa Forte, 52061–540 Recife

Brazil

 

Free

Brazilian Tour: Alejandra Riera: … – OHPERA – MUET – … [… – MUTE – OHPERA – …]

Screening and Book Launch
Sunday 9 July 2017, 11hr
Alejandra Riera, ‘.. – OHPERA – MUET – ... [... – MUTE – OHPERA – ...]’ (2017), screening and book launch. Photo: Temra Pavlovic.

This film by Alejandra Riera realised with Ueinzz revolves around spaces of history, constructions and demolitions, such as the 2014 removal of Columbus statue in Buenos Aires. It engages stories and storytellers, female narrators for whom there is often no space, so that space has to be produced. Accompanied by a talk by the filmmaker and launch of the Performance in Residence book for this research project.

 

… min, bw, Portuguese


Acknowledgements

The Brazilian Tour of Edition VI – Event And Duration (2015—16) is generously supported by the Mondriaan Fund through the Brazil intensification programme financed by the Dutch Ministry of Foreign Affairs

Espaço Itaú de Cinema Augusta

  1. Augusta, 1475 – Cerqueira César, 01305–100 São Paulo

Brazil

 

Free, reservations recommended

Finale: Zero Gravity, Episode V: Spaces

Performance
Open Rehearsal: Wednesday 7 December 2016, 20hr
Performance and Artist Talk: Thursday 8 December 2016, 20hr
Ueinzz Theatre Company, ‘Zero Gravity, Episode V: Spaces’ (2016), performance. Photo: Florian Braakman.

Ueinzz members present the latest episode in an ongoing series inspired by experimental French educator Fernand Deligny and his unrealised idea for a play or a film in which there are more actors than roles in a troupe. The piece is the result of a collective creation inspired by the work of the French educator Fernand Deligny, known for his pioneering and alternative approach to education for children and adolescents with autism.


Acknowledgements

Performers:

Badhuistheater

Boerhaaveplein 28, 1091 AT Amsterdam

The Netherlands

Performance: Saturday 10 December 2016, 20hr

Dokzaal

Plantage Doklaan 8, 1018 CM Amsterdam

The Netherlands

 

Free, reservations recommended

 

Sunday 4 December 2016, 11hr

Filmtheater Kriterion

Roetersstraat 170, 1018 WE Amsterdam

The Netherlands

 

Free

(includes meal)

Introduction: Modes of Existence, Modes of Resistance

Lecture
Sunday 24 January 2016, 11.30–18.30hr
Peter Pál Pelbart, Modes of Existence, ‘Modes of Resistance’ (2016), lecture. Photo: Kyle Tryhorn.

Reflecting on Ueinzz, the philosopher suggests rethinking time as not linear or circular but as a ‘crumbled handkerchief’ with events spread out on it unpredictably, pointing to multiple histories. Presented with other introductions to this edition in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living that is also a functioning high school, encouraging learning, becoming and testing ideas.


Acknowledgements

Special thanks to Cygnus Gymnasium

Cygnus Gymnasium

Vrolikstraat 8, 1091 VG Amsterdam

The Netherlands

 

€15 adults / €10 students

(includes meal)

Peter Pál Pelbart and his research project

Biography

Peter Pál Pelbart (b. 1956, Budapest. Lives in São Paulo) is a philosopher interested in the relationships between madness, literature, politics and subjectivity. He is a member of Ueinzz Theatre Company (est. 1997, São Paulo. Based in São Paulo) whose schizoscenic practice crosses art, madness and subjectivity. Inspired by Fernand Deligny’s forays into autism education, Pál Pelbart and Ueinzz interfere in normopathy and confront different modes – or forms – of life.

Event and Duration
Reading Group Amsterdam
Reading Group Sao Paulo
Reading Group Toronto
Reader
Our current website is under construction.
To view our old website, please visit
archive.ificantdance.org

2013–14
Commissions
Gerry Bibby

Gerry Bibby (b. 1977, Melbourne. Lives in Berlin) has a background in activism and social practice. Their texts and sculptural interventions divert, mis-use and retreat, dealing roughly with the tender stuff that smooths what it is to be in a body, while being estranged as a subject. This first publishing project enacts an interdisciplinary queer tendency to in-discipline in exploring poetry, fiction and performance from ‘backstage’.

The Drumhead

Publication & Residency
A. The Drumhead - A series of readings
Part I: Tuesday 10 November 2015, 19hr
Part II: Sunday 15 November 2015, 19hr
Part III: Friday 27 November 2015, 19hr

On three occasions during their residency in Cyprus, the artist reads their novel – and first fiction work – aloud to an audience. Written in six months in six cities, the text conveys institutional encounters and features a performance artist and secret service agent besieged by exhaustion.


Acknowledgements

Allied event. The Drumhead is commissioned by If I Can’t Dance and follows a two-year collaboration with KUB Arena at Kunsthaus Bregenz, CCA Glasgow, The Showroom, London, and Institute of Modern Art, Brisbane

Megaro Hadjisavva, Evagorou 2, Nicosia 1097

Cyprus

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

The Drumhead

Performance & Publication
Finale
Thursday 27 November 2014, 21–22hr

The artist’s first published book – celebrated with a presentation and drinks – sees protagonists including a secret service agent and performance artist besieged by exhaustion and frustration in architectures barely able to contain their big, lush personalities. Bibby relays the ensuing intrigue in passages that brim with wit, wry observation and occasionally with disgust – offering viewers ‘ways out’ even if only for the time of reading.


Acknowledgements

Author: Gerry Bibby

Managing editor: Vivian Ziherl

Editor: Natasha Soobramanien

Copy editor: Walter Ancarrow

Proof editor: Clare Butcher

 

The Drumhead is published by Sternberg Press, If I Can’t Dance, Kunsthaus Bregenz, CCA Glasgow, The Showroom, and Institute of Mondern Art Brisbane

 

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

If I Can’t Dance

Ruysdaelkade 2, 1072 AG Amsterdam

The Netherlands

 

Free

Combination Boiler

Exhibition & Residency
Wednesday 30 April – Sunday 22 June 2014
Exhibition Opening and Merchandise Launch Tuesday 29 April 2014, 18.30–20.30hr
Artist Talk: Tuesday 17 June 2014, 18.30hr
Open daily: Wednesday – Saturday, 12–18hr

During a six-week residency, the artist probes the host organisation’s apparatuses – especially the heating system – as creative material to inform the novel, The Drumhead (And Other Language Costumes). The social in production and shifts in function highlight potential complicity between artist and organisation, and how this allows for intimacy or estrangement. Featuring a conversation with David Bussel, Celine Condorelli and Jessica Vaughan.


Acknowledgements

The Drumhead (And Other Language Costumes) is a commission initiated by If I Can’t Dance in partnership with KUB Arena at Kunsthaus Bregenz, CCA Glasgow and The Showroom, London

 

Additionally supported by the Australia Council for the Arts

 

Presented as part of ‘How to work together’ organised by London venues Chisenhale Gallery, The Showroom and Studio Voltaire and supported by the Arts Council England through Catalyst Arts, with additional funding in the first year from Bloomberg, Jerwood Charitable Foundation and Outset Contemporary Art Fund

 

Special thanks to Biennale de Lyon and Frieze Art Fair

The Showroom

63 Penfold Street

London NW8 8PQ
United Kingdom

 

Free

Office Service

Performance
Emma’s
13 March 2014, 21hr

Full table service is provided during this intermediary look into the artist’s book in progress and characters of ‘work’, both on and off stage. Rectangular surfaces decompose and relax into tables; keyboards and chords become napkins; mouse pads become table cloths. Visitors are encouraged to bring excerpts from prose or poems in which favourite characters punch-in, log-on, take a smoke-break or otherwise dance against the rhythms of the daily grind.
 


Acknowledgements

Undertaken as part of a commission of new work by Gerry Bibby initiated in partnership with Kunsthaus Bregenz, CCA Glasgow and The Showroom, London with the support of the Mondriaan Fund, Arts Council England, Outset and Bloomberg

 

Additionally supported by the Australia Council for the Arts

 

Special thanks to Biennale de Lyon and Frieze Art Fair

If I Can’t Dance

Westerdok 606–608, 1013 BV Amsterdam 

The Netherlands

 

Free

Appropriation and Dedication 5

Workshop
Monday 10 March 2014

Dutch Art Institute students meet with the artist in Amsterdam to take a wandering tour back to school in Arnhem. Meandering and experiential, the trek is intended to be experienced alone, with participants provided an ‘action score’ in advance. The experience of the wander and the ‘work of not working’ is then reflected on when everyone is back in the same environment.

Dutch Art Institute

Kortestraat 27, 6811 EP Arnhem

The Netherlands

 

Closed seminar

KUB Arena

Conversation & Residency
Saturday 25 January – Sunday 27 April 2014
Reading: Friday 7 March 2014, 18–21hr
Open daily: Tuesday – Sunday, 10–18hr and Thursday, 10–20hr

Concentrating on the writing at the root of their practice, the artist takes a hiatus from sculpture and performance. They use the institutional space provided as reading room in which to write a lengthy manuscript. Events including a reading with Vivian Ziherl are also organised, featuring international guests from different fields of cultural production.


Acknowledgements

Commission initiated in partnership with Kunsthaus Bregenz, CCA Glasgow and The Showroom, London

 

Supported by the Mondriaan Fund, Arts Council England, Outset and Bloomberg

 

Additionally supported by the Australia Council for the Arts

 

Special thanks to Biennale de Lyon and Frieze Art Fair

KUB ArenaKunsthaus Bregenz

Karl-Tizian-Platz, 6900 Bregenz

Austria

 

€11 adults / €9 concessions / €7 20–27 years old / Free first Friday of the month

I am a receptacle for your extremities

Conversation & Performance
Thursday 17 – Sunday 20 October 2013
Performance: Saturday 19 October 2013, 15.15hr

Touring as a production assistant on some If I Can’t Dance projects, the artist’s installation and performance inspired by oyster shells found in Regent’s Park unpacks its exchange history in London. Oysters are served to Frieze fair workers, with left-over shells treated and re-presented as performative fragments. During a prior run as fair worker, the artist dug holes in Queen’s Park, discovering relics of the now extinct Thames Oyster.


Acknowledgements

Produced with Adrian Rifkin

Frieze London

The Regent’s Park, London NW1 4NR

United Kingdom

 

£32

The Black Box Penny Arcade Peep Show / The Drumhead

Installation
Thursday 12 September 2013 – Sunday 5 January 2014

The artist’s position as ‘backstage’ worker on select If I Can’t Dance productions issues a  Frankenstinean cast of characters that make their appearance through reassembled emoticon punctuations, jerry-rigged silk banners and Crowd Control Barriers. This work joins an eccentric series that leads towards and imbues the ultimate project of a novel.

12th Biennale de Lyon

 

Roadie (Voice Throwing)

Performance
Introduction
Sunday 20 January 2013, 17.15–.45hr

The notion of throwing the voice in public speaking – as in acting and ventriloquism – involves the mediation of an appropriated body, be it a mechanised doll or a space. The artist is interested in the seminar’s temporal and spatial parameters, its visual and sonic qualities, and how it stages presenters and audience. The artist’s uses these aspects as material to address the social, technical and spatial aspects of the seminar.


Acknowledgements

Introduction is supported by European Union and the Mondriaan Fund for their support

 

Special thanks to Dutch Art Institute/MFA ArtEZ Arnhem and Goethe Institut

Goethe Institut

Herengracht 470, 1017 CA Amsterdam

The Netherlands

€30, reservations required

(includes breakfast, lunch and the publication Reading/Feeling)

Gerry Bibby and his commission

Biography

Gerry Bibby (b. 1977, Melbourne. Lives in Berlin) has a background in activism and social practice. Their texts and sculptural interventions divert, mis-use and retreat, dealing roughly with the tender stuff that smooths what it is to be in a body, while being estranged as a subject. This first publishing project enacts an interdisciplinary queer tendency to in-discipline in exploring poetry, fiction and performance from ‘backstage’.

Snejanka Mihaylova

Snejanka Mihaylova (b. Sofia, 1978. Lives in Sofia) locates her work at the intersection of philosophy and performance, thinking and theatre. With degrees in philosophy of language and hermeneutics master’s and theatre. Looking into the aural aspect of the thinking process, her research underscores the relational dimension of thought and the necessary predisposition to listening and receiving that is a part of any thinking act through publication and song.

Acoustic Thought

Performance
Sunday 6 July 2016 [time]

The artist reads from her commissioned poetic exegesis of the Gospel of Thomas in a small Greek church. Found at Nag Hammadi, Upper Egypt in 1945 with 114 of Jesus’ sayings, the artist says the gospel ‘listens, where the written is not simply the record of a voice but a radically different dimension of cognition that emerges as an acoustic realm.’ Followed by a conversation with Susan Gibb.


Acknowledgements

Performance Biennial is initiated and organised by Gigi Argyropoulou, Vassilis Noulas and Kostas Tzimoulis

Performance Biennial, Mylopotamos, Cythera

Diakofti

Acoustic Thought

By Snejanka Mihyalova

Snejanka Mihaylova’s book Acoustic Thought is a poetic exegesis of the Gospel of Thomas: an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945, containing 114 sayings of Jesus. According to Mihaylova, the Gospel of Thomas “is a poem that listens, where the written is not simply the record of a voice but a radically different dimension of cognition that emerges as an acoustic realm in the formation of thoughts”. The book includes new texts written by Snejanka Mihaylova, “A Score for Six Voices” by Lisa Holmqvist, and is illustrated with photographs by Jeff Weber made during a research period at the project space Beirut, Cairo. The English manuscript was first edited by Joe Kelleher.

read more

Editor and designer: Philip Baber

Publisher: If I Can’t Dance in collaboration with The Last Books, Amsterdam and Sofia

ISBN 978-94-92139-05-4

64 p, bw ills, 19×26 cm, hc, English, 2015


€20

add to cart

Acoustic Thought

Book Launch
Tuesday 29 December 2015, 17hr

The author introduces and reads from her poetic exegesis of the Gospel of Thomas: an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945, with 114 of Jesus’s sayings. According to Mihaylova, the gospel ‘is a poem that listens, where the written is not simply the record of a voice but a radically different dimension of cognition that emerges as an acoustic realm in the formation of thoughts.’


Acknowledgements

Published with The Last Books

 

Supported by Creative Industries Fund and the Mondriaan Fund

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

Publication available for the special launch price of €15

Acoustic Thought and A Prayer

Exhibition, Workshop & Performance
Saturday 3 October – Sunday 20 December 2015
Exhibition Opening: Saturday 3 October 2015, 18–21hr
Performance: Saturday 7 November 2015, 14hr
Open daily Tuesday – Sunday, 12–18hr

The poetic exegesis of the Gospel of Thomas that includes 114 of Jesus’s sayings is included in group show Hotel Theory. Following the artist’s reading, composer Lisa Holmqvist gives a performance of a prayer by six singers and recorder players before which they rehearse in the gallery to reflect on the acoustic dimension of cognitive experience.


Acknowledgements

Part of group exhibition Hotel Theory, curated by Sohrab Mohebbi in collaboration with Ruth Estévez

 

Acoustic Thought is made possible with support from the Creative Industries Fund and the Mondriaan Fund

REDCAT

631 W 2nd St, Los Angeles, CA 90012

United States

Performance Days: A Song

Performance
Performance Days
Thursday 27 November – Wednesday 3 December 2014

An introduction to and reading by the artist of her book on the Gospel of Thomas moves through her interpretations and expansions – including her philosophy on time and singing. Initially seated, the artist moves to the floor, tempting an ending, relishing the awkward silence or pause when the end is not yet known. Then a horn begins being played, and five women in concert with the artist layer harmonies. With a reading by Gregg Bordowitz.

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

Date/time?

Vondelkerk

Vondelstraat 120, 1054 GS Amsterdam

The Netherlands

 

adults / students

Try-Out: A Song

Performance
Sunday 18 May 2014, 18hr

With composer Lisa Holmqvist the artist perform a song in relation to the research material on Gospel of Thomas, and the technique of exegesis (commentary on sacred texts). This pre-performance lights upon the artist’s interest in how listening and receiving are necessary predispositions of thinking.

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

Semi-public

Inner Stage poster and performance

Exhibition & Performance
Poster Display: Tuesday 28 January – Saturday 22 February 2014
Performance: Friday 14 February 2014, 18hr

Gertjan Franciscus gives life to prophetic half-divine, half-animal figures who inhabit the space of revelation in his texts and performances. On this occasion they are linked to the artist’s reflections and poster display in the venue on the potential economy of performance and rethinking the boundaries.

Ellen de Bruijn Projects

Rozengracht 207a, 1016 LZ Amsterdam

[now: Singel 372, 1016 AH Amsterdam]

The Netherlands

 

First-come first-served, 50 capacity

Inner Stage poster launch and reading

Launch & Reading
Emma’s
Sunday 26 January 2014, 17hr

The poster presents the introductory chapter of the artist’s forthcoming publication in a signature print of 100 copies. The development of her publication takes place over with the various stages of the project to forge a closer bond between publishing and performance.


Acknowledgements

Produced in collaboration with graphic designer Phil Baber and artist Jeff Weber

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

Poster: 30

It will also be on display and for sale at gallery Ellen de Bruijne Projects from 28 January – 22 February

Appropriation and Dedication 3

Workshop & Conversation
Artists’ Talk: Thursday 28 November 2013 [no time]
Seminar: Monday 2 – Wednesday 4 December 2013 [no time]

During a residency at Beirut the artist gives a seminar in relation to Egypt’s Nag Hammadi library and its collection of Gnostic texts discovered in 1945 that record ideas circulating among early Christians. Reading and commenting on sacred texts, the group focuses on the artist’s core research text of the Gospel of Thomas composed entirely of Jesus’s sayings. The artist also gives a talk on her work.

Beirut

11 Mahmoud Sedky 
off Shaheen St.

Agouza, Cairo

Egypt

Write to office@beirutbeirut.org to join

Snejanka Mihaylova and her commission

Biography

Snejanka Mihaylova (b. Sofia, 1978. Lives in Sofia) locates her work at the intersection of philosophy and performance, thinking and theatre. With degrees in philosophy of language and hermeneutics master’s and theatre. Looking into the aural aspect of the thinking process, her research underscores the relational dimension of thought and the necessary predisposition to listening and receiving that is a part of any thinking act through publication and song.

Every Ocean Hughes

Every Ocean Hughes (b. 1977, Easton, Maryland. Lives in New York and Stockholm) is an interdisciplinary artist and writer working with performance, photographic installations, print making, text, video and curating. She developed the concept ‘ecstatic resistance’ to talk about the impossible and imaginary in politics. Her episodic performance explores ‘discomposition’ and ‘transition’ in accumulating movement vocabularies layered through script and score and involving choreographers, writers, artists, musicians and composers. 

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

Uncounted*

Performance
Performance Days
Thursday 27 November – Wednesday 3 December 2014

Humorous and playful performance-based interventions convey a two-year exploration of temporality, aliveness, periphery and discomposition – and their potential for instituting moments of political transition. The words of Virginia Woolf, Gertrude Stein, David Hammons, Lucinda Childs and Jack Smith are spoken by the artist and collaborators who bob up and down holding wave crests outside the windows and wandering about the audience.


Acknowledgements

Contributors: Frédérique Bergholtz, Gregg Bordowitz, Katinka Marac, MPA, Rory Pilgrim

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

adults / students

By Any Other Name

Performance
Sunday 9 – Monday 10 November 2014, time 25 pp

The opening chapter around the term ‘to discompose’ – being working through in relation to site and performance, social spaces, institutions, and collaboration – within a theatre setting articulates an environment of observation and response, framed by text and tableau. A dramaturgy of darkness that is punctuated by contributions of invited artists involving drawings and a choreographic contribution. Collaborators continue to accumulate to become a troupe of players.


Acknowledgements

Drawings: Babi Badalov

Choreography: Eleanor Bauer

Jesper Stromback Eklund: costumes

Lighting design: Katinka Marac


Commissioned with partners the Playground Festival Leuven (STUK/Museum M), the TBA festival of the Portland Institute for Contemporary Art, and the Stedelijk Museum Amsterdam

 

Supported by Corpus, European Network For Performance Art, funded through the European Union

Playground Leuven

3010 Leuven

Belgium

 

Reservations required

Adults €10 / reduced €6

Emma’s: Emily Roysdon in Conversation

Conversation
Emma’s
Sunday 16 February 2014, 17hr

With Vivian Ziherl the artist discusses her concept of ‘discompose’: a field of enquiry, a speculation on ordering theatrical space, audience orientation and institutional structures. The tool is worked through in this series in relation to site and performance, social spaces and collaboration. In addition, her ‘minor theatre’ pursues an invested staging of audience and text, while trying to ‘build a structure for people to be alive inside’.

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

Free

By Any Other Name

Performance
Thursday 13 February 2014, 17hr and 20hr, limited to 30 pp each

‘The stage’ is punctuated with interventions and texts. Performers, shirts over coats, look bloated, interlopers, with a queer way of walking. Celestial photogram images coat the floor on which the audience is asked to lie down. Babi Badalov’s images on the walls: a gay rubber fetish model with PIG on his back is destined for a visual poem. Performers weave through the audience repeating: ‘Works or doesn’t.’


Acknowledgements

Drawings: Babi Badalov

Choreography: Eleanor Bauer

Jesper Stromback Eklund: costumes

Lighting design: Katinka Marac

 

Dutch Art Institute participants: Jan Adriaans, Maria Barlasov, Coco Duivenvoorde, Bryony Gillard, Monique Hendriksen, Bonbon Juan, Alireza Keymanesh, Constanza Puente, Kaste Seskeviciute, Celia Shomal, Aarti Sunder


Commissioned with partners the Playground Festival Leuven (STUK/Museum M), the TBA festival of the Portland Institute for Contemporary Art and the Stedelijk Museum Amsterdam

 

Supported by Corpus, European Network For Performance Art, funded through the Culture Program of the European Union

Stedelijk Museum Amsterdam

Museumplein 10, 1071 DJ Amsterdam

The Netherlands

 

Adults / students

Reservations required, reservations@stedelijk.nl

Appropriation and Dedication 4

Workshop
Sunday 9 February 2014, time

The artist discusses and works on a new element of her performance By Any Other Name by rehearsing group movement with the participants, to be performed outside the Stedelijk Museum Amsterdam at a distance from the audience. Participants work with choreographer Eleanor Bauer on developing the movement and to perform the evening of the Stedelijk performance. Part of If I Can’t Dance’s course at DAI.

Dutch Art Institute

Kortestraat 27, 6811 EP Arnhem

The Netherlands

 

Internal/semi-public

 

Reservations required, reservations@stedelijk.nl

Every Ocean Hughes and her commission

Biography

Every Ocean Hughes (b. 1977, Easton, Maryland. Lives in New York and Stockholm) is an interdisciplinary artist and writer working with performance, photographic installations, print making, text, video and curating. She developed the concept ‘ecstatic resistance’ to talk about the impossible and imaginary in politics. Her episodic performance explores ‘discomposition’ and ‘transition’ in accumulating movement vocabularies layered through script and score and involving choreographers, writers, artists, musicians and composers. 

Sara Sejin Chang

Sara Sejin Chang (b.1977, Busan, South Korea. Lives in Amsterdam and Brussels) attended De Ateliers in Amsterdam. Her interest in the affective, formal and linguistic qualities of colour result in works on paper, performances and interventions. Here she acknowledges the processes outside systems focussed on linear growth and material gain, motivated by a commitment towards the enactment of a paradigm shift.

Mother Earth Breathing: The Garden

Screening
24 January 2015, 19.15hr

The rhythmic montage illustrates one year of growth and decomposition in the artist’s garden, confronting value, decay, death and stillness – processes beyond growth – in the space of nature according to our biological clock.

 

56 min, col


Acknowledgements

Camera and montage: Sara van der Heide (Sara Sejin Chang)

Color correction: Sara van der Heide and Guy Molin

Technical guidance: Guy Molin

Camera stand-in: Kyle Tryhorn

Thank you: Nelly Voorhuis

 

Mother Earth Breathing is supported by the Mondriaan Fund

 

Presented within ‘Signals: 24/7′ curated by Edwin Carels

 

44th International Film Festival Rotterdam

Lantaren Venster 6

Otto Reuchlinweg 996, 3072 MD Rotterdam

The Netherlands

 

adults / students

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

Mother Earth Breathing

Performance
Performance Days
Saturday 29 November 2014, 16.33–18hr (sunset) and Sunday 30 November 2014, 8.24-10hr (sunrise)

Images projected in a darkened room show geometric figures flowing into one another. Trained in meditation, the artist lies down beneath the screen and breathes. When she gets up, the blinds are lifted to reveal first light. Exploring the transitory time of day, the work is also performed at sunset.


Acknowledgements

Camera and montage: Sara van der Heide (Sara Sejin Chang)

Color correction: Sara van der Heide and Guy Molin

Technical guidance: Guy Molin

Camera stand-in: Kyle Tryhorn

Thank you: Nelly Voorhuis

 

Mother Earth Breathing is supported by the Mondriaan Fund

 

Performance Days is supported by Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

If I Can’t Dance

Ruysdaelkade 2, 1072 AG Amsterdam

The Netherlands

 

€ 17,50 afternoon / morning and afternoon programme

(includes one free publication)

Midsummer Night

Performance
Emma’s
Saturday 21 – Sunday 22 June 2014, 20.33–00.53hr

From 20.33 to 00.53, artists, writers and curators give five-minute summer-solstice presentations in affinity with the artist’s research into time, the Earth and metabolising processes, including breathing and photosynthesis. Dotted around the biggest cacti and succulents collection in the Netherlands – a secluded safe haven, an unfixed utopia – presentations situated by different plants involve music, readings, mirrors, botanical history, spitting, gold and silver tuning forks, and magical projected shapes.


Acknowledgements

Contributors: Tanja Baudoin, Nathalie Bruys, Frédérique Bergholtz, Marcel van den Berg, Maarten van Bodegraven, Laurie Cluitmans, Susan Gibb, Moosje Goosen, Irene Kopelman, Eva-Fiore Kovacovsky, Jacob Korczynski, Katja Mater, Maria Pask, Rory Pilgrim, Agnieszka Polska, Kyle Tryhorn, Nora Turato, Nelly Voorhuis, Riet Wijnen, Sands Murray-Wassink, Arnisa Zeqo, Vivian Ziherl

 

Special thanks to the Vrienden van VU Hortus and Clivia Festival

Saturday 21 – Sunday 22 June 2014, 20.33–00.53hr

VU Hortus, Van der Boechorststraat 8, Amsterdam

The Netherlands

 

Free, reservations required

Appropriation and Dedication 2

Workshop
Monday 25 – Tuesday 26 November 2013

The 1913 opera Victory Over the Sun – a collaboration between Aleksei Kruchenykh, Velimir Khlebnikov and Kazimir Malevich (who designed the costumes and set) – proposed capturing and destroying the ‘sun’ as symbol of rationality. Students’ considerations of what the sun represents, and values or objects to capture, destroy or nurture, become five-minute performances with self-made backgrounds. 


Acknowledgements

Part of If I Can’t Dance’s course at the Dutch Art Institute

Dutch Art Institute

Kortestraat 27, 6811 EP Arnhem

The Netherlands

 

Closed workshop

Sara Sejin Chang and her commission

Biography

Sara Sejin Chang (b.1977, Busan, South Korea. Lives in Amsterdam and Brussels) attended De Ateliers in Amsterdam. Her interest in the affective, formal and linguistic qualities of colour result in works on paper, performances and interventions. Here she acknowledges the processes outside systems focussed on linear growth and material gain, motivated by a commitment towards the enactment of a paradigm shift. 

Research projects
Gregg Bordowitz

Gregg Bordowitz (b. 1964, Brooklyn, NY. Lives in New York City) is a major figure in AIDS activism having been a member of ACT UP. In his long career as a writer and visual artist, his attention more recently turned to performance – including improvisational lectures and opera – plotting a personal trajectory across diverse North American poet communities, smoking out ethical and political complexities and alliances of poetic expression. 

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


out of stock

Performance Days – Poets Don’t Lie: Appropriation and the Proper Power of the Voice

Conversation
Performance Days
Sunday 30 November 2014, 18–21hr

The artist addresses biopower and remaining faithful to past work through radical queer activism, with critic Rachel O’Reilly who brings in a feminist and environmental perspective and poet Fred Moten who speaks from the Black radical tradition. Poetry is read. The politics and aesthetics of appropriation and dedication is discussed. Open to all types.


Acknowledgements

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

€ 17,50 evening programme

(includes one free publication)

Performance Days – Seminar

Seminar
Performance Days
Friday 28 November 2014, 14–16hr

Seminar with Sven Lütticken, Tom Vandeputte, and students of the VU University Amsterdam and Sandberg Instituut MFA Critical Studies programme.


Acknowledgements

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

Closed seminar

Materialist Geography and the Knight’s Move

Lecture
Sunday 9 February 2014, 14–16hr

This keynote touches on experiences in the 1980s with fellow artists ‘disgusted by the alignment of regressive politics in the White House with politics in the art world’ when the ‘federal government to museums and galleries were perceived to be driven by national interests, imperialist expansion, profit motive, male supremacy, white supremacy and heteronormativity.’ The artist notes their analysis ‘led to tactics of subterfuge and refusal. Still, we were not resigned.’


Acknowledgements

Allied event. Part of the exhibition ‘Take It or Leave It: Institution, Image, Ideology’, curated by Johanna Burton

Take It or Leave It: Institution, Image, Ideology

Hammer Museum

10899 Wilshire Blvd, Los Angeles, CA 90024

United States

 

Free, first come, first served

Gregg Bordowitz & Maggie Nelson

Lecture
Gregg Bordowitz & Maggie Nelson
Wednesday 5 February 2014

‘Identity is a form of repetition.’ Letting a line like this hang there can be likened to speech bubbles from a state of the union address: uttered to loud applause, urgency weaponised in the aim of being quotable. But the artist’s phrases are crafted to be quoted for their poetry, not their bombast. It is a writing process that stops only after the last question is asked.


Acknowledgements

Allied event. Part of Gregg Bordowitz & Maggie Nelson organized by The Poetry Project, New York

The Poetry Project

131 East 10th Street, New York NY 10003

United States

 

Free

Testing Some Beliefs

Lecture
Introduction
Sunday 20 January 2013, 14.45–15.45hr

The artist considers what he has to gain from his continued belief that art can change the world. And further, that art is necessarily related to freedom. Even though there are no facts supporting this, he continues to hold these ideas, and wonders why they remain. To the visitor he writes: ‘At risk of sounding ridiculous, I will try to explain.’


Acknowledgements

Introduction is supported by the European Union and the Mondriaan Fund

 

Special thanks to Dutch Art Institute/MFA ArtEZ Arnhem and Goethe Institut Amsterdam

Goethe Institut

Herengracht 470, 1017 CA Amsterdam

The Netherlands

€30, reservations required

(includes breakfast, lunch and the publication Reading/Feeling)

Reading Group Sessions: Affect #13

Reading Group
Wednesday 2 November 2011

Columns the artist wrote for the journal Documents (1996–2000) collected in New York Was Yesterday published in The AIDS Crisis Is Ridiculous and Other Writings, 1986–2003 (2004) have been selected for reading by Jacob Korczynski, a Reading Group member formerly based in Amsterdam and currently running the Reading Group in Toronto.

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

Free, reservations required

Gregg Bordowitz and his research project

Biography

Gregg Bordowitz (b. 1964, Brooklyn, NY. Lives in New York City) is a major figure in AIDS activism having been a member of ACT UP. In his long career as a writer and visual artist, his attention more recently turned to performance – including improvisational lectures and opera – plotting a personal trajectory across diverse North American poet communities, smoking out ethical and political complexities and alliances of poetic expression. 

Jacob Korczynski

Jacob Korczynski (b. 1979, Canada. Lives in Toronto) is a curator and writer. His reading of I See/You Mean (1979) by critic Lucy R. Lippard (b. 1937, New York City. Lives in Galisteo, New Mexico) situates his project within a feminist aesthetic connected to contemporaneous practices in experimental film – specifically the subjective camera eye in The Camera: Je/La Camera: I (1977) by Babette Mangolte (b. 1941, Montmorot, France. Lives in New York City).

I See/La Camera: I

Publication
Saturday 10 January 2015, 15–17hr

The author and editor introduces the outcome of an extensive research project into the subjective role of the camera in Babette Mangolte’s film The Camera: Je/La Camera: I (1977) and in text and image in Lucy R. Lippard’s novel I See/You Mean (1979). He situates both works within the context of feminist strategies of self-portraiture.

Art Metropole

158 Sterling Road

Toronto, ON M6R 2B2

Canada

 

Free

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

I See/La Camera: I and premiere of new film by Babette Mangolte

Conversation & Screening
Performance Days
Sunday 30 November 2014, 14–16hr

The curator discusses The Camera: Je/La Camera: I (1977) with its film-maker Babette Mangolte, who premieres a new film. Supporting texts and films are also put forward to help frame the withdrawal of the author’s body from the fictional and documentary image as a strategy of self-portraiture.


Acknowledgements

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

€ 17,50 morning and afternoon programme

(Includes one free publication)

A Point in the Making: Three Days with Babette Mangolte

Conversation & Screening
Wednesday 21 May 2014, 19hr

This programme around Mangolte’s work includes a day of talks where she speaks with curator Fleur van Muiswinkel on the documentation of performance and feminist aesthetics, and with Korczynski on the subjective role of the camera in film. In addition to a rich screening programme that includes legendary images of Trisha Brown’s dancers on rooftops and a masterclass, there is a screening of The Sky on Location with a Q&A by art critic Bianca Stigter in Eye Filmmuseum.


Acknowledgements

Produced and curated with Fleur van Muiswinkel and Het Veem Theater, in collaboration with Eye Filmmuseum

 

Supported by Amsterdam Fund for the Arts and Fonds Podiumkunsten

 

Part of the Life Long Burning project and supported by the Cultural Programme of the European Union

Eye Filmmuseum

IJpromenade 1, 1031 KT Amsterdam

The Netherlands

 

Conversation: Saturday 24 May 2014, 11–13hr

Veem House for Performance

Van Diemenstraat 408–410, 1013 CR Amsterdam

The Netherlands

 

adults / students

I See/La Camera: I

Reading Group
Tuesday 29 – Wednesday 30 October 2013

Participants consider feminist strategies by looking into the interrogation of text and image in critic Lucy R. Lippard’s novel I See/You Mean (1979) and the subjective role of the camera in Babette Mangolte’s film The Camera: Je/La Camera: I (1977). Through collective reading, watching and discussing, the group articulates questions around the research.

170 St Helens Ave, Toronto, ON M6H 4A1

Canada

 

Semi-public

A Project by Lucy R. Lippard Submitted to the Projects Class, Nova Scotia College of Art and Design, Fall 1969

Screening
Thursday 31 January 2013, 21hr

On view are the results of a two-week exercise following Lippard’s 1969 instructional work on image and writing that informed her novel I See/You Mean (1979). Daily photographs are taken at the same place and time, with participants in approximately the same positions, and then described in writing. The final outcome shows these texts and images rearranged in different ways. The Camera: Je/La Camera: I is screened on 16mm.

 

88 min, bw and col, French


Acknowledgements

Co-organiser: Kyle Tryhorn

Cinema de Uitkijk

Prinsengracht 452, 1017 KE Amsterdam

The Netherlands

 

adults / students

I See/You Mean

Lecture
Introduction
Sunday 20 January 2013, 11.45–12.30hr

In the late 1970s critic Lucy R. Lippard and film-maker Babette Mangolte drew on landscape and friends to assemble an image of the lives of artists mediated by their seeing I / eye. The former, in text: the novel I See / You Mean is anchored by descriptions of fictional photographs of its characters; the latter, in texture: her films align the maker’s gaze with the viewer’s.


Acknowledgements

Introduction is supported by the European Union and Mondriaan Fund

 

Specials thanks to the Dutch Art Institute/MFA ArtEZ Arnhem and  Goethe-Institut Niederlande

Goethe-Institut Niederlande

Herengracht 470, 1017 CA Amsterdam

The Netherlands

 

Reservations required
adults / students €30

(includes breakfast, lunch and publication Reading/Feeling)

Jacob Korczynski and his research project

Biography

Jacob Korczynski (b. 1979, Canada. Lives in Toronto) is a curator and writer. His reading of I See/You Mean (1979) by critic Lucy R. Lippard (b. 1937, New York City. Lives in Galisteo, New Mexico) situates his project within a feminist aesthetic connected to contemporaneous practices in experimental film – specifically the subjective camera eye in The Camera: Je/La Camera: I (1977) by Babette Mangolte (b. 1941, Montmorot, France. Lives in New York City).

Sven Lütticken

Sven Lütticken (b. Kempen, Germany in 1971. Lives in Amsterdam) teaches art history at VU University Amsterdam. His books include Idols of the Market: Modern Iconoclasm and the Fundamentalist Spectacle (2009). In looking at A Movie Will Be Shown Without the Picture (1979/2012) by Louise Lawler (b. 1947, Bronxville, New York. Lives in Brooklyn) as a case study around showing a film chosen by the artist, the movie-going experience is accentuated.

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.

read more

ISBN 978-90-814471-6-4

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


out of stock

The V-Conspiracy – Refunctioning Authorship or, After Appropriation and Institutional Critique

Conversation & Screening
Performance Days
29 November 2014, 13.30–15.30hr

The Question of Manet’s ‘Olympia’: Posed and Skirted by The V-Girls mocks male academic authority. With Sidsel Meineche Hansen and Fatima Hellberg, the art historian addresses patriarchal elements in art history and discusses how this work collapses Benjamin H.D. Buchloh’s distinction between ‘literal’ performativity and one that can infect traditional artistic media.

 

64 min, col


Acknowledgements

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

If I Can’t Dance

Ruysdaelkade 2, 1072 AG Amsterdam

The Netherlands

 

€ 17,50 afternoon programme

(includes one free publication)

Seminar

Seminar
Performance Days
Friday 28 November 2014, 14–16hr

Seminar with Gregg Bordowitz, Tom Vandeputte, and students of the VU University Amsterdam and Sandberg Instituut MFA Critical Studies programme.


Acknowledgements

Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

Closed seminar

Appropriation and the Shipwreck of Critical Intentions

Lecture
Introduction
Sunday 20 January 2013, 11–11.45hr

Louise Lawler’s work is a springboard for a discussion on widening the parameters of appropriation theory ca. 1980, which often presupposes a work’s meaning depends on critical intentions shared by artist and critic. A specific model of authorship has thereby tacitly been (re)established: the artist, mirrored by the writer, as a critical subject engaging with media images.


Acknowledgements

Introduction is supported by the European Union and the Mondriaan Fund

 

Specials thanks to the Dutch Art Institute/MFA ArtEZ Arnhem, and Goethe-Institut Niederlande

Goethe-Institut Niederlande

Herengracht 470, 1017 CA Amsterdam

The Netherlands

 

Reservations required
adults / students €30

(includes breakfast, lunch and publication Reading/Feeling)

Louise Lawler: A Movie Will Be Shown Without the Picture

Conversation & Screening
Tuesday 12 June 2012

A new edition of Louise Lawler’s 1979 work A Movie Will Be Shown Without the Picture revolves around the announcement and screening of a film chosen by the artist, accentuating the operation of the screening and moviegoing. Followed by a talk in the presence of the artist, with Sven Lütticken, Andrea Fraser and Eric C. H. de Bruyn around the work’s actual and potential consequences for contemporary art and theory.


Acknowledgements

Evening co-produced with Stedelijk Museum Amsterdam

 

Special thanks to PhDArts, doctoral programme for visual artists and designers, Leiden University / University of the Arts, The Hague

The Movies

Haarlemmerdijk 161, 1013 KH Amsterdam

The Netherlands

 

adults / students

Sven Lütticken and his research project

Biography

Sven Lütticken (b. Kempen, Germany in 1971. Lives in Amsterdam) teaches art history at VU University Amsterdam. His books include Idols of the Market: Modern Iconoclasm and the Fundamentalist Spectacle (2009). In looking at A Movie Will Be Shown Without the Picture (1979/2012) by Louise Lawler (b. 1947, Bronxville, New York. Lives in Brooklyn) as a case study around showing a film chosen by the artist, the movie-going experience is accentuated.

Grant Watson

Grant Watson (lives in London) is a curator with an interest in questions around the transnational through art. His research spans subjects including modern and contemporary Indian art. This itinerant interview project departs from Michel Foucault’s provocation in a 1983 Vanity Fair interview that ‘bios could be the material for a work of art’, and takes form in presentations relating individual testimony to broader narratives of contemporary subjectivity.

How We Behave

Exhibition
Saturday 9 September – Sunday 10 December 2017
Opening Weekend: Friday 8 September – Tuesday 11 September
Open daily: Thursday – Saturday 13–18hr and Sunday 11–18hr

These three interviews with Brussels- and Antwerp-based artists – feminist project Just for the Record, AnneMie van Kerckhoven and Elke van Campenhout are inspired by Michel Foucault’s question: why can’t life be ‘the material for a work of art?’ The interviews’ focus on how people work on themselves and reflect on their lives and relationships appears in the context of similar reflections from other artists on citizenship in cities urged to adapt to diverse inhabitants.


Acknowledgements

How We Behave

Concept and interviews: Grant Watson

Director of photography: Kate McDonough

Curator: Frédérique Bergholtz

Originally commissioned by If I Can’t Dance and funded by the Mondriaan Fund and the Arts Council of England, the latter in partnership with Nottingham Contemporary and The Showroom

 

‘Extra Citizen’

Curators: Antonia Alampi and iLiana Fokianaki

Kunsthal Extra City

Eikelstraat 29, 2600 Antwerp

Belgium

 

€10 voluntary / €5 standard / € 3,60+, groups of 10 or more persons, teachers’ card, oKo / €1 -26s, NICC members, persons with a disability and their guides, unemployed / €0 -13s, ICOM, persons with Omnio status, press

How We Behave

Exhibition
Friday 5 February – Saturday 2 April 2016
Exhibition Opening: Friday 5 February 2016, 20hr
Open daily: Wednesday – Friday 16.30–20.30hr and Saturday 12–17hr

These three interviews with Athens-based artists and activists are inspired by Michel Foucault’s question: why can’t life be ‘the material for a work of art?’ The focus on how people work on themselves and reflect on their lives and relationships merges here into a foreboding fog in times of crisis and transition and how we politically articulate ourselves within and out of it.


Acknowledgements

How We Behave

Concept and interviews: Grant Watson

Director of photography: Kate McDonough

Curator: Frédérique Bergholtz

Originally commissioned by If I Can’t Dance and funded by the Mondriaan Fund and the Arts Council of England, the latter in partnership with Nottingham Contemporary and The Showroom

 

‘Through the Fog: Descripting the Present’

Curator: Nick Aikens

 

Special thanks to State of Concept and iLiana Fokianaki

State of Concept

Mpotsari Tousa 19, Athens 117 41

Greece

 

Free

How We Behave

Exhibition
Wednesday 1– Saturday 18 July 2015
Exhibition Opening: Tuesday 30 June 2015, 18.30–20.30hr
Researchers’ Talk: Saturday 11 July 2015, 1416hr
Open daily: Wednesday – Saturday 12–18hr

Inspired by a 1983 Vanity Fair interview of the same name with Michel Foucault, who asked, why can’t life be ‘the material for a work of art?’, Watson conducted over 50 interviews in myriad cities. Several of the filmed portraits on how people work on themselves, and reflect on life and relationships, appears with research material as setting for a discussion on Foucault’s concept of life as work of art.


Acknowledgements

How We Behave

Concept and interviews: Grant Watson

Director of photography: Kate McDonough

Curator: Frédérique Bergholtz

‘How We Behave’

Curator: Emily Pethick

 

Originally commissioned by If I Can’t Dance and funded by the Mondriaan Fund and the Arts Council of England, the latter in partnership with Nottingham Contemporary and The Showroom

The Showroom

63 Penfold St, Marylebone, London NW8 8PQ

United Kingdom

 

Free

How We Behave

Exhibition & Seminar
Saturday 10 January – Saturday 17 January 2015
Exhibition Opening: Friday 9 January 2015, 18hr
Seminar: Saturday 10 January 2015, afternoon
Open daily: Tuesday – Thursday and Saturday, 10–18hr, Friday 10–21hr, Sunday, 11–17hr

Inspired by an interview with Michel Foucault who asked, why can’t life be ‘the material for a work of art?’, Watson conducted over 50 interviews in myriad cities. Several of the filmed portraits on how people work on themselves, life and relationships appears with research material as setting for a discussion on Foucault’s concept of life as work of art.Accompanied by a seminar with guests involved in the project. 


Acknowledgements

Seminar: Frédérique Bergholtz, David Dibosa, Christian Nyampeta, Jean Matthee, Dr Massimiliano Mollona, Emily Pethick

 

Originally commissioned by If I Can’t Dance and funded by the Mondriaan Fund and the Arts Council of England, the latter in partnership with Nottingham Contemporary and The Showroom

Nottingham Contemporary

Weekday Cross, Nottingham NG1 2GB

United Kingdom

 

Free, reservations required

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

How We Behave

Exhibition
Performance Days
Friday 28 November 2014, 21–22.30hr

Delving into the ancient Greek philosophies of ‘askesis’ or ‘self-making’ called upon by Michel Foucault amid the 1980s period of neoliberalism, interview-style film portraits are shown, self-reflexive in their production and methodology. Each monologue is a self-conscious performance of the quotidian, communicating belonging and exclusion.

 

During ‘Performance Days’ ‘performance’ is grasped through affect and feminist appropriation. For these seven days contributors explore ownership, subjecthood and more.


Acknowledgements

How We Behave

Concept and interviews: Grant Watson

Director of photography: Kate McDonough

Curator: Frédérique Bergholtz

Special thank you to all interviewees, Studium Generale Rietveld Academie (Amsterdam), The Kitchen (New York), Casa do Povo and NUCLEO (São Paulo), Roski School of Arts (USC), Human Resources and GuestHaus Residency (Los Angeles), The Showroom (London), Wysing Arts Centre (Cambridge) and CCA Wattis (San Francisco)

Performance Days is supported by Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard Cultuurfonds

 

Special thanks to SKOR | Foundation for Art and Public Domain and SONSBEEK International Foundation

Ruysdaelkade 1072 AG Amsterdam

The Netherlands

 

€ 17,50 evening programme

(includes one free publication)

How We Behave

Research
Friday 18 – Tuesday 22 January 2013

The project departs from an interview with Michel Foucault around his concept of life as work of art. The philosopher also discusses gay liberation and the scant pre-given codes of behaviour there are to invent life. Research interviews are structured around straightforward questions about the daily life and rituals of invited guests and Amsterdam residents.


Acknowledgements

Contributors: Grant Watson, Adva Zakai, Veridiana Zurita, Frédérique Bergholtz

If I Can’t Dance

Westerdok 606–608 1013 BV Amsterdam

The Netherlands

 

Internal

How We Behave

Research
Friday 15 – Friday 22 February 2013

Interviews are structured around material gathered from invited guests and California residents following a workshop and accompanied by artist MPA. The original inspiration is an interview with Michel Foucault, who also talks about gay liberation and the scant pre-given codes of behaviour there are to invent life. At the time of that interview, the philosopher taught at the University of California, Berkeley, and was immersed in the San Francisco’s gay leather scene.


Acknowledgements

Contributors: Frédérique Bergholtz, MPA

Roski School of Fine Arts, University of Southern California

825 Bloom Walk, Los Angeles, CA 90089

United States

 

& other venues in Los Angeles and San Francisco

 

Internal

How We Behave

Lecture
Introduction
Sunday 20 January 2013, 14–14.45hr

What does it mean to pick up and reflect on a 1983 interview Michel Foucault had with Vanity Fair? What about the author’s biographical circumstances at the time of publication and theoretical work – in particular his interest in classical antiquity and the idea of an aesthetics of existence? In addition to these quandaries, some of Foucault’s suggestions for how we might appropriate and use concepts from the past are put forth.


Acknowledgements

Introduction is supported by the European Union and the Mondriaan Fund

 

Specials thanks to the Dutch Art Institute/MFA ArtEZ Arnhem Goethe-Institut Niederlande

Goethe-Institut Niederlande

Herengracht 470, 1017 CA Amsterdam

The Netherlands

 

€30, reservations required

(includes breakfast, lunch and publication Reading/Feeling)

How We Behave

Research
Monday 16 – Thursday 22 November 2012
Artists’ Talk: Tuesday 17 November

The interviews depart from Vanity Fair’s 1983 conversation with Michel Foucault around his concept of life as work of art. The philosopher also talks about gay liberation and the scant pre-given codes of behaviour there are to invent life both individually and collectively. A talk is given as part of Suely Rolnik’s ‘Nucleus for Subjectivity’ class at the University of São Paulo.


Acknowledgements

Contributors: Frédérique Bergholtz, Veridiana Zurita, Daniela Castro

University of São Paulo 

Butanta, São Paulo – State of São Paulo

Brazil

 

& other locations in São Paulo

 

Internal

How We Behave (rehearsals)

Conversation & Performance
Tuesday 8 May 2012, 20hr

The project departs from a 1983 interview with Michel Foucault around life as work of art. The philosopher also talks about gay liberation and the scant pre-given codes of behaviour there are to invent life. The week-long rehearsals with guests and New York residents are based on Foucault’s idea of bios as material for art. Exercises trained on personal activities attempt to interpolate the city’s particular character and personalities.


Acknowledgements

Contributors: Frédérique Bergholtz, Adva Zakai, Veridiana Zurita

The Kitchen, New York

512 W 19th St, New York, NY 10011

United States

 

Free

Grant Watson and his research project

Biography

Grant Watson (lives in London) is a curator with an interest in questions around the transnational through art. His research spans subjects including modern and contemporary Indian art. This itinerant interview project departs from Michel Foucault’s provocation in a 1983 Vanity Fair interview that ‘bios could be the material for a work of art’, and takes form in presentations relating individual testimony to broader narratives of contemporary subjectivity.

Appropriation and Dedication
Reading Group Amsterdam
Reading Group New York
Reading Group Sao Paulo
Reading Group Toronto
Radio Emma
Symposium
Reader
2010–12
Affect
Reading Group Amsterdam
Reading Group Sheffield
Reading Group Toronto
Reader
Commissions
Jeremiah Day
Sung Hwan Kim
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

add to cart
Emily Wardill
Research projects
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

add to cart
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

add to cart
Inti Guerrero
Bulegoa z/b
18 Pictures and 18 Stories

Edited by Bulegoa z/b with Isidoro Valcárcel Medina

This bilingual publication collects twenty-two stories by invited artists and cultural practitioners in dialogue with the work of artist Isidoro Valcárcel Medina. Each story responds to one of eighteen photographs featuring Valcárcel Medina restaging actions previously performed in public spaces of different cities between 1965–93, this time in Madrid in 2011. Across 2012 these photographs were exhibited in a number of institutions under the title 18 Pictures and 18 Stories. At each exhibition three guests were invited to tell a story based on a photograph. During the telling of these stories Valcárcel Medina was available via phone to answer any questions the storyteller or audience might wish to ask. This publication hosts all the interpretations, facts, and fictions that were told, offering a spectrum of approaches to the work of Valcárcel Medina.


acknowledgements

Contributors: Pierre Bal-Blanc, Koen Brams, José Díaz Cuyás, Juan Domínguez, Nuria Enguita Mayo, Jon Mikel Euba, Esther Ferrer, Dora García, GEACC – Grupo de Estudos em Arte Conceitual e Conceitualismos no Museu, Moosje Goosen, Isaías Griñolo, Myriam Van Imschoot, Miren Jaio, Manuel Martínez Ribas, Emilio Moreno, Aimar Pérez Galí, Esteban Pujals Gesalí, Pedro G. Romero, Isidoro Valcárcel Medina, Jaime Vallaure, Azucena Vieites, Carla Zaccagnini

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Design: Filiep Tacq

ISBN: 978-90-814471-2-6

392 p, ills col & bw, 17×22 cm, pb, English/Spanish, 2013


€25

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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

add to cart
Jon Mikel Euba
Writing Out Loud

Jon Mikel Euba

Writing Out Loud brings together transcriptions of eight lectures by artist Jon Mikel Euba that were live-translated from Spanish to English during the course Action unites, words divide (On praxis, an unstated theory) at the Dutch Art Institute, Arnhem. The lectures were presented on invitation of If I Can’t Dance across the academic year 2014–15. The resulting texts sit within a larger writing-centred project by the artist, ongoing for almost a decade, with the aim of defining a form of praxis that could evolve into a technical theory.

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Designer: Philip Baber

Publisher: If I Can’t Dance and Dutch Art Institute, Arnhem

ISBN 978-94-92139-08-5

200 p, bw, 15×23 cm, pb, English, 2016


€18

add to cart
Olivier Foulon
The Soliloquy of the Broom

By Olivier Foulon

The Soliloquy of the Broom is a transcript of a conversation between Olivier Foulon and Michael Krebber on their mutual interest in Gustave Courbet. The publication follows from the work Foulon made as part of If I Can’t Dance’s Edition III – Masquerade (2008–10), which focused on the concept of masquerade in relation to painting. In a 16mm film Foulon brought together four paintings of Courbet that are each different versions of the portrait Jo, the Beautiful Irish Girl (1865–66). His film visualizes not only early forms of mass production in art, but also reflects on the concept of a model that is used as a template for a painting that itself then becomes the model for another.

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Design: Ella Klaschka

Publisher: Gevaert Éditions, Brussels

 

ISBN 978-2-930619-00-2

68 p, bw, 12×17 cm, pb, 2010


€12

add to cart
Suchan Kinoshita
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

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