Quotes

13 questions we ask ourselves – Guillermo Gómez-Peña

“13 Questions We Ask Ourselves” – from Guillermo Gómez-Peña – La Pocha Nostra (LA, USA) “1. What is our new place, our role as performance artists in this new century? 2. What are future formats for performance art? 3. What do words like radical, transgressive, rebellious ;, and oppositional mean after 9/11? 4. Where are the new borders that we must cross? 5. What are the new reasons for sitting at the table together, so to speak, in a time where all progressive political projects seem to be bankrupt? 6. What binds our otherwise extremely diverse ethnic identities, aesthetics and community concerns? The search for ‘radical’ tolerance and for a new way of presenting and distributing important ideas? Or the need to find a new spirituality emerging ou...

Deufert + Plischke “in Quotes”

Our actual proceeding is rather like throwing sheets into the wind in any direction with the hope one hits a ghost. A ghost that haunts in the middle of us. Only a resonance in between, like a constant movement that neither represents nor mirrors relations of power and their rules and regulations of the body, the space and time. For us, artistic work stands for an invitation not to shy away from responsibility, and a chance to address it. And as we address ourselves in thought, we become more than one. From there on we are able to let our ideas circulate. From a single thread something complex evolves. Every slope connected to the next slope whole after whole. The representation of competence is replaced by a conspiracy of participation. — deufert +plischke: out-of-the-crisis-into-th...

Lost Notebook Defines Contemporary Performance

“Contemporary performance is hybrid work that integrates text, dance, objects, music, costumes, lighting, image, sound, sets, and vocal expression into complex interactive systems. Contemporary performance names a body of work that builds on an aesthetic history beginning in the 1880s with Alfred Jarry and early Dada experiments and unfolds through into the American avant-garde and Performance Art of the 1980s. Contemporary performance collages are often non-narrative, technically rigorous, and carefully orchestrated anarchic chaos. They unsettle perception, demand critical engagement from audiences, address conceptual debates within aesthetics, draw on a diverse range of cultural interests, and bring pleasure to populations across the globe.” – Morgan v. P. Pecelli at lo...

Certain Fragments

“The struggle to produce witnesses rather than spectators is present in the contemporary performance scene. You can see it in excess/epic style at least in the public piercings and mutilations by American artist Ron Athey or the ‘suspensions’ on meet-hooks carried out by Stelare, events in which extreme versions of the body in pain, in sexual play and in shock demand repeated of those watching – ‘be here, be here, be here…’. You can see it in much milder work too, and sometimes more clearly. In the rearrangements of audiences space and contract repeatedly employed by the UK performance companies Station House Opera and Blast Theory, and by the US group Goat Island, whose physical vocabulary) of school gym class, nervous ticks, sports moves and intimate gestures) its itsel...