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

Who would spray that?

Screening
Tuesday 4 December 2018, 19–21.30hr

An avant-première of a new experimental documentary, introduced with live music and accompanied by a Syrian banquet.

 

The artist spent 24 hours with four women—Rogine, Waad, Hanin, and Zeina—in the cities to which they relocated from Lebanon and Syria. Together, they made a documentary that follows personal discussions, people, and the places related to these women. They ask questions like: is exile a choice or an accident, and are they even in exile? What is being home anyway? How do we behave in our new countries? How does the abuse of the word “refugees” affect us? What does singing mean for Rogine now that she lives in Zutphen? How does Hanin take part in international political life while based in Washington DC with her son? How does Waad in Oslo use rich body language to share her visions rather than speak about the personal and the political? How does Zeina go on with all her family now recently relocated to Sharjah?

 

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, Nouran Breem, Ramy Ghanem, Tone Hansen, Dalshad Hassan, Bilal Khbeiz, Nabil Mohammad, Nader Omid, Nabeeh Semaan, Mounira Al Solh, Hussein Tabarai, Siddhi Tettero, Ronald Verweij

 

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

 

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

 

Producer: Frédérique Bergholtz

 

Co-commissioned by Sharjah Art Foundation

ZID Theatre

De Roos van Dekamaweg 1, 1061 HR Amsterdam

The Netherlands

 

€12,50 adults / €10 students

(includes meal)

 

SOLD OUT

Rhea Anastas

(b. 1969, Gloucester, USA. 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

Reading with audience discussion
Thursday 29 November 2018, 19–20.30hr

Piper created this version of Some Reflective Surfaces on a stage at the Whitney Museum of American Art in New York on February 28, 1976 as part of a multi-day programme of live pieces commissioned by the Whitney from figures active in New York’s downtown experimentalism circles. Rhea Anastas will read excerpts of her writing from a research period spanning from the summer of 2017 to the present. In 2018, Piper’s exhibitions Adrian Piper: A Synthesis of Intuitions, 1965–2016 and Adrian Piper: Concepts and Intuitions, 1965– 2016 were staged. These museum surveys, the largest of Piper’s career, with works from public and private collections around the world, were generated out of a four-year-long collaboration between Piper; the Museum of Modern Art, New York; and the Hammer Museum, Los Angeles. Anastas’s talk explores parallels between some specific intersubjective dynamics within the watching and being-watched of Some Reflective Surfaces, as well as the spacing mechanisms (in time, context, and conditions) that are entailed in apprehending and reflecting on this work.


Acknowledgements

Presented in collaboration with the University of Amsterdam’s Art History Department. Special thanks to APRA Foundation Berlin (Adrian Piper Research Archive Foundation Berlin)

University of Amsterdam Auditorium

Oudemanhuispoort 4-6, 1012 CN Amsterdam

The Netherlands

 

€5


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keyon gaskin

prefers not to contextualize their art with their credentials.

King’s Day Protest

Screening
Friday 30 November 2018, 17.45hr

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

 

6  min, col.           


Acknowledgements

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

Camera: Temra Pavlovic

Edit: Temra Pavlovic & keyon gaskin

 

Special thanks to SNDO – School for New Dance Development

Amsterdam Bijlmer ArenA

1101 BE Amsterdam, The Netherlands

 

Free, no reservations required

NASHA

Performance
Friday 30 November 2018, 18.15–22.30hr

A gathering of three performances with keyon gaskin and friends. NASHA is 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

Bijlmer Parktheater

Anton de Komplein 240, 1102 DR Amsterdam

The Netherlands

 

€15 adults / €12,50 students

(includes meal)


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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.

La Bibliothèque

Performance
Thursday 22 November 2018
Friday 23 November 2018
Monday 26 November 2018
Tuesday 27 November 2018
Wednesday 28 November 2018

with Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, and Zoe Scoglio

 

An art project that questions the usual patterns of attention. Across five days, 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

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

 

La Bibliothèque is 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, and Yasmine Youcef

10.30–12hr

13–14.30hr

15–16.30hr

University of Amsterdam Library

Singel 425, 1012 WP Amsterdam

The Netherlands

 

€10


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How Can One Know in Such Darkness?

Performance
Saturday 24 November 2018

with Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, and Zoe Scoglio

For one day, during library opening hours, beholders are ushered into a hall and invited to lie down, close their eyes, and become immersed in a collective tactile experience. Surrounded by blankets, pillows, different kinds of fabric, stones, and other objects, performers weave a non-verbal narrative between bodies using touch and sound. Through this, what the beholder feels and imagines, the states of sleep and wakefulness, are blurred to enable a different regime of images to appear. Each session can accommodate ten beholders who are welcome to stay and watch the next session.


Acknowledgements

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, and presented in collaboration with the department of Art History in the Library of the University of Amsterdam

 

Originally conceived by Jean Philippe Derail, Julie Laporte, and Myriam Lefkowitz

9–10.30hr

10.30–12hr

13.30–15hr

15–16.30hr

16.30–18hr

University of Amsterdam Library

Singel 425, 1012 WP Amsterdam

The Netherlands

 

€10


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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.

Defiant Muse: Delphine Seyrig (DAY II)

Lecture
Sunday 2 December 2018, 11.30–16hr

Writer and curator Nataša Petrešin-Bachelez and art historian Giovanna Zapperi introduce their larger 2019–20 exhibition project on Delphine Seyrig at Musée d’art moderne, d’art contemporain et d’art brut, Lille and Museo Nacional Centro de Arte Reina Sofía, Madrid. Videos, artworks, and public and personal archives appear in non-linear order in the exhibition whose themes take up the Seyrig’s critical engagement with countering normativity, disobedient practices, transnational struggles, and research into anti-psychiatric movement.

 

Afterward Petrešin-Bachelez elaborates on her research into Seyrig’s unrealized black-and-white silent feature film Calamity based on letters allegedly written by American frontierswoman Calamity Jane to her daughter (first edited by Jean Hickok McCormick in 1949). During production in the late 1970s, Seyrig first involved filmmaker Babette Mangolte to film research footage in Billings, Montana and later, among others, poet and painter Etel Adnan to produce a text. In this film Seyrig wished to explore the mother-daughter relationship, undergirded by her long-term interest in American culture and arts.

Veem House for Performance

Van Diemenstraat 408-410, 1013 CR Amsterdam

The Netherlands

 

€12 adults / €7 students

 

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Defiant Muse: Delphine Seyrig (DAY I)

Screening
Saturday 1 December 2018, 20–23hr

An evening with two films by Delphine Seyrig and collaborators

 

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

Feminist video collective Les Insoumuses (Nadja Ringart, Carole Roussopoulos, Delphine Seyrig, and Ioana Wieder) responds to comments by French Secretary of State for the Status of Women, Françoise Giroud after the 1975 International Women’s Year celebrations. Appropriating and editing the broadcasted material into a parody, this detournement and démontage is a right of reply and scathing meditation on the violence implicit within the stereotypes and rigid roles permitted women in public life.

 

55 min, b&w, French with English subtitles           

 

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

Comprising a series of interviews with well-known film actresses including Jenny Agutter, Jane Fonda, and Maria Schneider, the title, borrowed from a 1958 film with the same name by Marc Allegret refers to the actual situations in which the actresses have been expected and very often also forced to perform within the film industry. This video could be defined as a statement of the #MeToo movement avant la lettre.

 

115 min, b&w, 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

 

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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
11 May – 24 November 2019

SaF05, Charlotte Prodger’s newest single channel video, draws upon multiple sources – archival, scientific and diaristic – and combines footage from a number of geographical locations (the Scottish Highlands, the Great Basin Desert, the Okavango Delta and the Ionian Islands). 

 

SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal is the last of several maned lionesses documented in the Okavango Delta and is only known to Prodger through a database of behaviours and camera-trap footage logged across several years. 

 

These indexes of SaF05’s existence are intersected with autobiographical fragments from Prodger’s own life that fluctuate between proximity and distance. Much of Prodger’s work looks at subjectivity, self-determination and queerness. SaF05 is the last in a trilogy of videos that began with Stoneymollan Trail (2015) and was followed by BRIDGIT (2016). This autobiographical cycle traces the accumulation of affinities, desires and losses that form a self as it moves forward in time. 

 

39 min, col, English


Acknowledgements

SaF05, single-channel video, is produced by Scotland + Venice in partnership with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution with additional support from Charlotte Prodger Supporters Circle, Elephant Trust, Hollybush Gardens, Koppe Astner, Mercer Union Toronto, Stedelijk Museum Amsterdam. 

 

SaF05, the exhibition, has been commissioned by the Scotland + Venice partnership with funding support from the National Lottery through Creative Scotland, and is curated by Linsey Young with Cove Park.  

 

On its return to Scotland the work will tour the Highlands and Islands while If I Can’t Dance will lead an international tour of the work to the Stedelijk Museum Amsterdam and Mercer Union Toronto.

The 58th International Art Exhibition – La Biennale di Venezia

Presented at:
Arsenale Docks,

San Pietro di Castello, 40

30122 Venice, Italy

 

More information and tickets

Passing as a Great Grey Owl

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

In Passing as a Great Grey Owl (2017), found footage of a female biologist mimicking the call of the male great grey owl is counterposed with video of women’s legs as they urinate in various wildernesses. The collision of these activities in landscape points to an exuberant queer territoriality. This video work includes a passage from “I am (for The Birds)”, the final text in the book Here is Information. Mobilise: Selected Writings (2016) by the late artist and curator Ian White.   6 min, col, English


Acknowledgements

Courtesy LUX Scotland

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution  Westerdok 606608, 1013 BV Amsterdam  The Netherlands   Free, no reservations required