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Books: Damaged Goods / Meg Stuart – Are we here yet?

Caden Manson (Editor In Chief)
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Since choreographer Meg Stuart presented her debut Disfigure Study at the Klapstuk festival (Leuven) in 1991 and founded her company Damaged Goods in Brussels in 1994, she has been a regular guest in theatres all over Europe and became a key figure in contemporary dance. According to Stuart, writing in December 2007, “all movement expresses desire, not simply the physical or erotic or material desire of wanting, owning, or inhabiting something, but the desire to make contact, to expose oneself to the viewer and the other on stage. Ultimately, movement also expresses and incorporates the missing, the failed communication, the censored, and all conditions real or projected that block any action from taking place. Perhaps al the reasons one is not able to cope within a given situation.”

Are we here yet?

Though Damaged Goods’ work has yielded a lot of critical response, many questions remain unanswered when it comes to Stuart’s views, issues, methods and collaborations that underpin her performance work. How does choreographer Meg Stuart create work? In the book Are we here yet?, Stuart reflects on her own practice in dialogue with Jeroen Peeters and several (former) Damaged Goods collaborators. Mapping out genealogies and collaborations, Are we here yet? revisits meaningful moments in Stuart’s artistic trajectory, drawing different lines through the work from Disfigure Study (1991) to Maybe Forever (2007). It contains observations on making and performing, discussions about improvisation and dramaturgy, essays and visual contributions, a manual with Stuart’s exercises, and a selection of documents and performance texts. Are we here yet? is a container brimming with memories, projections, reflections and images close to Stuart’s choreographic practice, a heterogeneity of materials that have a certain gravity of their own and won’t cease to resonate and stir up new questions.

Contributors: Simone Aughterlony, Francisco Camacho, Varinia Canto Vila, Doris Dziersk, Tim Etchells, Davis Freeman, Philipp Gehmacher, David Hernandez, Katharine Jones, Tina Kloempken, Benoît Lachambre, Jorge León, André Lepecki, David Linton, Anna MacRae, Jan Maertens, Lawrence Malstaf, Vincent Malstaf, Vera Mantero, Bettina Masuch, Andreas Müller, Jeroen Peeters, Stefan Pucher, Vania Rovisco, Hahn Rowe, Yukiko Shinozaki, Meg Stuart, Tine Van Aerschot, Maarten Vanden Abeele, Bart Van den Eynde, Myriam Van Imschoot and Anna Viebrock. The graphic design is Kim Beirnaert’s.

Read the introduction on the book by Jeroen Peeters

The book is for sale at the Damaged Goods presentations, via www.damagedgoods.be and we will post the Amazon link as soon as its available.

Highlights: Exit Festival (Paris) March 25-27, 2010

Caden Manson (Editor In Chief)
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EXIT Festival (Paris)

exit

As an active participant in the contemporary artistic creation, the Maison des Arts et de la Culture de Creteil is a place where all manners and movements of art are produced, displayed, and performed. With over 300 performances a year, MAC’s policy starts from the principle of contemporary art’s multiplicity : it helps fund and create projects that bring together aspects of theatre, dance, music, and digital art – a veritable melting pot for the most recent forms of artistic expression. Indeed, MAC gives preference to exploratory modes of expression, lending its support at every step in collaborative hybrid projects. During its regular season, the MAC organizes multiple exhibitions and festivals, most notably the international festival, EXIT. This year, the MAC has added a third space for performance and creation : the Satellite. This space is overseen by the Studio, a space dedicated to the artistic creation and the production of digital imagery for use in the performing arts.

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LAWRENCE MALSTAF – SHRINK

The work of Lawrence Malstaf can be situated on the borderline between the visual and the theatrical. After having studied industrial design, Lawrence Malstaf starts of in theatre. He designs scenographies for choreographers and directors as Benoît Lachambre, Meg Stuart and Kirsten Delholm. Soon he develops more into installation and performance-art with a strong focus on movement, coincidence, order and chaos. In 2000 he makes a series of sensorial rooms for individual visitors (Nemo Observatorium, Mirror, Pericope/Horizon Machine). Later he creates larger mobile environments dealing with space and orientation often using the visitor as a co-actor (Orbit, Nevel, Compass, Boreas, Transporter). His projects often involve advanced technology as a point of departure or inspiration but also to activate the installations. Lawrence Malstaf is exhibiting internationally and in 2008 he wins the Witteveen + Bos – prize for Art + Technology (NL), in 2009 he receives the Golden Nica at Prix Ars Electronica (A) an in 2010 he is the winner of the Excellence Prize at The 13th Japan Media Arts Festival in Tokyo (JP).

Video:

PETER WILLIAM HOLDEN – [SOLENOID B] AUTOGENE ARABESQUE

With its roots in Mary Shelly’s “Frankenstein” (1818) and the alchemist’s laboratory, the installation presents itself as a mechanical flower: a simulacrum of nature. Life sized human body parts, impaled upon steel, move and sway and dance. The limbs, translucent and livid, bare their internal robotic mechanisms to the gaze of the viewer. The wiring itself is an aesthetic expression deliberately integrated into the installation to bring chaotic lines of abstract form to contrast with the organized symmetry of the body parts. The lifeblood of this organism is air and when activated this air flows invisibly, bestowing movement to these mechanisms and its presence is only betrayed when exhaled loudly from the valves attached to the serpentine air hose.This combined with the rattle of relays and the tandem clattering of pistons to produce a hyper-modern accompaniment to the music of Strauss. Part cinema, part theatre, “Arabesque” can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful shapes and patterns created from the human form.

Video:

CLOUD EYE CONTROL – UNDER POLARIS

At once playful and deeply expressive, Under Polaris confronts head-on the tension between primal nostalgia and modern technological optimism. In their latest mix of projected animation, live theater and electronic music, Cloud Eye Control charts an epic journey across a vast arctic expanse — a sublime icebound landscape illuminated under the ethereal lights of the Northern sky.

Video:

Full Schedule the EXIT Festival can be found here.

In Performance: Andrew Schneider – Wow and Flutter

Caden Manson (Editor In Chief)
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In Performance: Andrew Schneider – Wow and Flutter

press01Andrew Schneider uses the body as a physical playback device of recorded media. Using custom built wearable electronics, subsonic sound scores, interactive projections, and a site-specific rope and pulley system, Wow and Flutter literalizes the mashup. Recorded media exists embedded within the physical mediums of plastic magnetic tape, grooved vinyl records, and celluloid film. The tiny bits of silver hallide crystals, iron coating, and recycled vinyl makeup the whole that is the recorded memory of events past. Recording, and playback of recorded media, is imperfect. Tape stretch, chemical decomposition, and structural deterioration of the media itself distorts what was originally captured. Further, cassette players, turntables, and darkroom enlargers distort the final perception. Human’s memory mechanisms are similarly flawed. The body too scans with tired eyes, hears through walls, and touches through calloused fingers. We write what we do not mean, and we remember what never happened. We convey thoughts and memories through the medium of speech. Language separates us from the experience of the real. All of our existence is mediated in some way. We remember the photograph of an event more than we remember the event itself. We try to log and capture our existence to share with others and more so to share with ourselves. We shield ourselves from experience with the lenses, screens, and microphones used in an attempt to preserve the experience itself. Wow and Flutter seeks the physical playback of collective memory both real and fictional, both personal and found, both physical artifacts and sweeping cultural memes. Digital storage systems have made the collection and distribution of information and knowledge ubiquitous. But they have also collapsed the physical space of organization. When everything, all information is all accessible, and all at the same time and all simultaneously; order, ordinance does not matter. Linear time as we know it is indifferent. Things poke holes in the present moment from other places. The whole of everything is now in one frame. Everything at once. All the time. Flattened out. With a meat tenderizer.

Wow and Flutter
February 25-27, 2010
8:00PM
Chocolate Factory
5-49 49th Ave
L.I.C. – New York
(718) 482-7069

Video:

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Announcements: NoPassport Conference – DREAMING THE AMERICAS: UTOPIA IN PERFORMANCE (NYC)

Caden Manson (Editor In Chief)
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NoPe – NoPassport Conference

DREAMING THE AMERICAS: UTOPIA IN PERFORMANCE

NoPassport and Nuyorican Poets Cafe present a two-day conference with the support of The Armenian Dramatic Arts Alliance, Idiom, The Internationalists, 50/50 in 2020, Conni’s Avant-Garde Restaurant, New Perspectives Theatre Company, and the Lark Play Development Center, and the cooperation of New Dramatists.

Initiated and Curated by Caridad Svich
Co-curated by Daniel Banks & Daniel Gallant

Join Migdalia Cruz, Teresa Eyring (TCG), Conni’s Avant-Garde Restaurant, Jeff Janisheski (O’Neill Theater Institute), Catherine Filloux, Karen Hartman, Randy Gener, Melanie Joseph, Brian Knep, Oliver Mayer, Chiori Miyagawa, Jeff McMahon, J.T. Rogers, Ian Rowlands, Alberto Sandoval-Sanchez, Octavio Solis, Saviana Stanescu, and more distinguished artists for the 4th annual NoPassport “Dreaming the Americas” Conference held this year at the Nuyorican Poets Cafe in New York City with pre-conference event at New Dramatists on February 25th from 6-8 PM.

This coming year the two-day conference will focus on a wide range of contemporary works for theatre & performance, viewing utopian spaces from a variety of formal perspectives. Keynote speeches will be delivered by Erik Ehn and Henry Godinez. There will also be a book launch for the release of five new volumes from NoPassport Press from Migdalia Cruz, Karen Hartman, Chiori Miyagawa, Octavio Solis amd Saviana Stanescu.

Conference @ Nuyorican Poets Café/NY
Fri. February 26, 2010 11:00 a.m. – 8:00 p.m.
& Sat. February 27, 2010 11:00 a.m. – 6:30 p.m.
TWO-DAY PASS Registration/cover required: $25
Pre-registration available online now here

Venue has limited seating. Early registration online Recommended.
For further information & full schedule contact NoPassportPress@aol.com

Facebook event page

NoPassport was founded by playwright Caridad Svich in 2003. It is an unincorporated theatre alliance & press devoted to cross-cultural, Pan-American performance, theory, action, advocacy, and publication. Caridad Svich and NoPassport is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions in behalf of [Caridad Svich & NoPassport] may be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

http://www.caridadsvich.com/NoPassport/upcoming.html

Current Schedule–Program is subject to change

FEBRUARY 26, 2010 Panels:

11:00 AM WELCOME/OPENING REMARKS
with DANIEL BANKS (DNAWORKS), DANIEL GALLANT (Executive Director, Nuyorican Poets Cafe), CARIDAD SVICH (Playwright; founder, NoPassport)

11:30 AM-12:50 PM APPLIED THEATRE: GENOCIDE DRAMA IN COMMUNITY
Moderators: BIANCA BAGATOURIAN (Playwright & President of Armenian Dramatic Arts Alliance) and MEGAN MONAGHAN (Dramaturg, via Skype)

Panel: MARCY ARLIN (Immigrants Theater Project), STACIE CHAIKEN (Writer-Performer), ERIK EHN (Playwright), CHRISTINE EVANS (Playwright), CATHERINE FILLOUX (Playwright), J.T. ROGERS (Playwright), DAWN AKEMI SAITO (Writer-Performer), KELLY STUART (Playwright), *This is an Armenian Dramatic Arts Alliance session.
1:00-1:45 KEYNOTE: ERIK EHN: UTOPIA IS THE SHADOW OF DISASTER
ERIK EHN is Head of Playwriting at Brown University, and former Dean of California School of the Arts.
We are in the middle of an extraordinary time, if utopia is understood to include moral diversity (heaven and hell). The ways in which we are being disregarded, forced into strange shapes, misunderstood, privileged, urged – are now (briefly) the fracture that permits growth. Making art in holy shadow in obedience to disaster.

2:00-2:45 PM CONNI’S AVANT-GARDE RESTAURANT
This special performance/lunch costs $10 (separate from registration and at event only).
Conni’s Avant Garde Restaurant (a Village Voice Choice and Time Out New York favorite), is not a locale but a group of bold (if fictional) theatrical performers, devoted to the ongoing celebration of the work of Conni Convergence, the beloved icon of stage and screen. Hailed as “devilish dinner theatre” by The New York Daily News, these unique theatrical-culinary events mix the ingredients of fine food and drink, brash Vegas-style song and dance spectacle, and a loving sendup of avant-garde pomposity. www.avantgarderestaurant.com

3:00-5:00 PM IMMERSIVE THEATRE: SITES OF MEMORY/PRACTICE
Moderators: TAMILLA WOODARD and JAKE WITLEN
Panel: MELANIE JOSEPH (Artistic Director, The Foundry), MALLORY CATLETT (director), ANNA KIRALY (Designer), STEPHEN SQUIBB (C-Artistic Director, Woodshed Collective), , IVAN TALIJANCIC (Artistic Director, Wax Factory), IAN ROWLANDS (Playwright, Advisor, Welsh Arts Council), MELISSA F. MOSCHITTO (Founder, The Anthropologists), CATHERINE PORTER (Peculiar Works Project) *This is an Internationalists session.

5-6 PM DINNER BREAK

6 PM 2nd KEYNOTE: HENRY GODINEZ : NEW HORIZONS FOR NEW VOICES
HENRY GODINEZ is the resident artistic associate at the Goodman Theatre and curator of the Goodman’s Latino Theatre Festival. Born in Havana Cuba, Mr. Godinez is an Associate Professor at Northwestern University, and was recognized as the 2008 Latino Professional of the Year by the Chicago Latino Network.

6:30-7:50 PM NOPASSPORT PRESS BOOK LAUNCH
Moderators: RANDY GENER (Senior Editor, American Theatre) & OTIS RAMSEY-ZOE (Dramaturge)
Panel: MIGDALIA CRUZ, OCTAVIO SOLIS, KAREN HARTMAN, CHIORI MIYAGAWA, SAVIANA STANESCU and ALBERTO SANDOVAL-SANCHEZ (Mount Holyoke College), PRISCILLA PAGE (Univ. of Massachusetts), JOHN EISNER (Artistic Director, Lark Play Development Center), SHARON FRIEDMAN (NYU, Gallatin School)

NoPassport Press presents excerpts from new work (read by authors) and a conversation about the global voice in the age of globalization with five writers who have newly available plays, along with scholars and theatre-makers who’ve written about their work.

8:30 PM CHAMACO – BOY AT THE VANISHING POINT (2004)
a reading of a play by Cuban playwright Abel González Melo. English Translation by Yael Prizant. Directed by Joe Salvatore

@ Off-site venue: New Perspectives Theatre, 456 West 37th Street, NY, NY 10018
Omar Valiño writes, “Chamaco… is one of the most important works of contemporary Cuban theater and, with time, will become even more important. The play brought a new thematic outlook to the theater of the island through its inclusion of, and dialogue with, innovative textual and performative discourses….”

Chamaco is an elegant and brutal portrait of the street, full of desires. Veiled in a common crime narrative, the play reveals transgressions far more disturbing and painful than any illegal acts. González Melo’s vivid characters have an intimate relationship with Havana and its rhythms. They encounter the world as Cubans, grasping at their island’s skewed interaction with tourism, its housing shortages, its limited job prospects, its lively and interactive culture. Yet their palpable loneliness, their distance from each other, and their fervent desire to connect is collective, basic, and utterly recognizable to audiences, in any language.

FEBRUARY 27, 2010 PANELS:

11:00 AM: TERESA EYRING (TCG): CONVOCATION
TERESA EYRING is Executive Director of Theatre Communications Group. Previous positions include Managing Director of the Children’s Theatre Company (CTC) in Minneapolis, Managing Director of the Wilma Theater in Philadelphia and Assistant Executive Director of the Guthrie Theater in Minneapolis. She holds a BA in International Relations from Stanford University and an MFA in Theatre Administration from Yale School of Drama.

11:30-12:50 AM THEATRE-MAKING AS AN ACT OF UTOPIA-MAKING: 50/50 in 2020
MELODY BROOKS (Artistic Director, New Perspectives), JENNY GREEMAN (Artistic Associate, NPTC), SUSAN JONAS (Dramaturge), LUDOVICA VILLAR-HAUSER (Director-Dramaturge, VIP of Programming for the League of Professional Theatre Women)

New Perspectives Theatre Company, The League of Professional Theatre Women and 50/50 in 2020 explore what it means to make art in a culture that only values capital. Is the act of creation a radical act? Can theatrical space be viewed as utopian space? The panel will investigate these theoretical questions and move toward practical solutions for reassessing the value of theatre and its makers. In particular, representatives of the newly formed 50/50 in 2020 will share their plan for achieving parity for women artists by 2020.

1:00-2:10 PM IDIOM: Between Art and Theater: Genealogies of Performance
Moderator: STEPHEN SQUIBB (Editor, Idiom) Panel: SHAWN MARIE GARRETT (Columbia University), JOEL BASSIN (Hunter College), JESSE ARON GREEN Artist, Whitney Biennial), ANDREA MERKX (Artist, dance curator) & TBA

The arrival of widespread interest in performance amongst contemporary artists has not immediately translated into an expanded interdisciplinary interest in that other, classically time-based medium, the theater. Nor has the theater, broadly speaking, seen fit to expand its categories to correspond with the sudden promiscuity of its traditional methodology. What is the nature of this reciprocal ignorance? Is it simply a question of incompatible constituencies? No doubt there is a deep divide in each community’s respective method of production – but are we so determined? This panel aims to examine the recent history of performance as it relates to current patterns of production and dissemination, with special consideration given to the divide between contemporary art and theater.

2:15 PM JEFF McMAHON: COUNTER INDICATIONS
Counter Indications, a collaboration between writer JEFF MCMAHON and media designer JACOB PINHOLSTER, is a live performance/installation examining forced confessions, the parameters of what is considered “cruel and unusual” treatment, and the role of influence in determining truth. JEFF McMAHON, Assistant Professor in the School of Theatre and Film at Arizona State University, is the recipient of 8 NEA Fellowships in Choreography. His live works combining live speech and movement with media have been presented since 1980 at P.S. 122, Dance Theater Workshop, The Kitchen, PS 1, LACE, Cleveland Performance Art Fest., Jacob’s Pillow, Highways, and numerous other venues in the U.S. and Europe. He recently completed a writing residency at the Edward F. Albee Foundation. www.jeffmcmahonprojects.net

3-4 LUNCH BREAK

4-6 PM NEW DRAMATURGIES: ARTS AND/IN THE ACADEMY
Moderators: JEFF JANISHESKI (O’NEILL THEATRE INSTITUTE) and ELEANOR SKIMIN (Dramaturge, PHD candidate, Brown University)

Panel: ELAINE AVILA (Playwright, University of New Mexico), RANDY GENER (Playwright), CHARLOTTE MEEHAN (Playwright, Wheaton College), LISA SCHLESINGER Playwright, Columbia College Chicago), MATTHEW MAGUIRE (Playwright, Fordham University), LINSEY BOSTWICK (Big Art Group)

6-6:30 PM CLOSING EVENT: BRIAN KNEP: SPIRITUAL COMPUTING
BRIAN KNEP is a new media artist who uses science and technology to explore change, healing, struggle, and acceptance. Often his works are immersive and interactive, sensing and reacting to the people around them. Knep has exhibited internationally, including solo shows at the New Britain Museum of American Art and the McColl Center for Visual Art and group shows at the Milwaukee Art Museum and the Hudson Valley Center for Contemporary Art. His works have won awards from Ars Electronica, Americans for the Arts, AICA/New England and the Academy of Motion Picture Arts and Sciences. In 2005 Knep became the first artist-in-residence at Harvard Medical School in a program co-sponsored by Harvard’s Office for the Arts. Knep lives and works in Boston and is represented by Ronald Feldman Fine Arts, NY and Judi Rotenberg Gallery, Boston.

7:00 PM ARTIST RECEPTION hosted by the Lark Play Development Center, 939 8th Avenue @ 55th Street.

In Performance: Pascal Rambert & Éric Méchoulan

Caden Manson (Editor In Chief)
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Pascal Rambert & Éric Méchoulan
Une (micro) histoire économiquedu monde, dansée

A (micro) economic history of the world, in dance… Economics govern every aspect of our existence – a constant threat from above. Servitude of the worst kind: not knowing, not understanding, sacrificed naked and defenceless to the brute powers of production and merchandise, pitching and tossing from one crisis to the next like a drunken boat.

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Based on the rich fabric of life experiences and relationships explored and forged in writing workshops at the Théâtre de Gennevilliers, drawing on texts by turns naïve, gentle, strident, protesting… Texts that talk about purchasing power, job losses, the feeling of panic on the brink of the abyss of unemployment. Pascal Rambert gives form to this community of voices and their shared passion for a quest for greater understanding. The result – in collaboration with philosopher Eric Méchoulan – is Une (micro) histoire économique du monde, dansée. A raw historical narrative punctuated by sketches performed by a cast of four, recounting the adventure of ordinary lives in the grip of the global market. Mixing “warts and all” reality with carefully-elaborated fictions by professional and non-professional writers, the show draws on sound, lighting, bodies, architecture, economics, and song. 30 participants from the writing workshops at the Théâtre de Gennevilliers are joined by fifteen performers from the choir of the Ecole Nationale de Musique/Conservatoire Edgar-Varèse in Gennevilliers. A vibrant staging of the fight to overcome ignorance and the causes of poverty, and the desire for beauty and advancement.



The show promotes understanding of the economy through a series of historical sketches, starting with Mr Lloyd’s Coffee House in the City of London, and moving on to Adam Smith and Karl Marx, Henry Ford’s model automobile factory, and modern Japanese manufacturing methods at the Toyota factory. For each performance, the scenes and historical periods are presented with a live, extemporised commentary by Eric Méchoulan, director of the course “Aesthetics and the Political Economy” at the Collège International de Philosophie.



Une (micro) histoire économique du monde, dansée presents a mix – in real time, inspired by film montage techniques – of fictional, individual stories and episodes from global economic history. The show aims to abolish the gulf separating the stage and auditorium, inviting the world outside to don a theatrical mask and declare: “There is more to me than economics; there is more than mere monetary value.”

Texte, concep and production Pascal Rambert in association with Éric Méchoulan , philosopher (course director: “Aesthetics and the Political Economy” at Collège International de Philosophie) / With Clémentine Baert, Kate Moran, Cécile Musitelli, Virginie Vaillant and 30 non-professional participants from writing workshops at the Théâtre de Gennevilliers, and 15 singers from the Ecole Nationale de Musique/Conservatoire Edgar-Varèse in Gennevilliers.

Production Théâtre de Gennevilliers with support from the Japan Foundation du Japon (Performing Arts Japan Program), CULTURESFRANCE and ANA.

Digest: Feb 15-21, 2010

Caden Manson (Editor In Chief)
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In Performance: Bettina Atala (Paris) at Chez Bushwick (NYC)
February 15th, 2010

Bettina-Atala

Featured: My Barbarian (Los Angeles, USA)
February 16th, 2010

nonwestern_madrid1

Featured: Neuer Tanz (Düsseldorf, Germany)
February 17th, 2010

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In Performance: Radiohole – Whatever, Heaven Allows at PS122 (NYC)
February 18th, 2010

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In Performance: Radiohole – Whatever, Heaven Allows at PS122 (NYC)

Caden Manson (Editor In Chief)
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In Performance: Radiohole – Whatever, Heaven Allows at PS122 (NYC)

Radiohole
Whatever, Heaven Allows
February 20 – March 14, 2010
Performance Space 122, NYC

Known for its radical and reckless theatricality, avant-garde New York troupe Radiohole’s newest work is a star-spangled American meta-melodrama inspired by film director Douglas Sirk’s 1950s potboilers and Milton’s epic Paradise Lost. Our heroine is an all- American “Eve” who must save her home from an evil-doer while struggling to find fulfillment in a lasting relationship with a supposedly good man who looks like god. Radiohole’s newest synthesis of cultural flotsam is sure to be bawdy, silly, possibly transcendent, and a touch disturbed.

Images:

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Video:

more information and tickets here.

Featured: My Barbarian (Los Angeles, USA)

Caden Manson (Editor In Chief)
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My Barbarian is a Los Angeles-based performance collective founded in 2000 by Malik Gaines, Jade Gordon and Alexandro Segade. The trio performs in site-specific plays, musical concerts, theatrical situations and produces video installations that play with the spectacular while engaging viewers critically. Their interdisciplinary projects explore and exhume cross-cultural mishaps and misadventures drawn from history, mythology, art and popular culture.

Photo collage: Alexandro Segade
Photo collage: Alexandro Segade

My Barbarian has performed and exhibited widely in Los Angeles: LACMA, REDCAT, Hammer Museum, MOCA, LAXART, Schindler House, LACE; in New York: Whitney Museum, New Museum, Studio Museum in Harlem, Participant, Inc., Joe’s Pub; and elsewhere at Yerba Buena Center, San Francisco; Hyde Park Art Center, Chicago; Aspen Art Museum; Contemporary Arts Forum, Santa Barbara; Vox Populi, Philadelphia; Samson Projects, Boston; The Power Plant, Toronto; De Appel, Amsterdam; Peres Projects, Berlin; Torpedo, Oslo; El Matadero, Madrid and Galleria Civica, Trento, Italy; Lui Velazquez, Tijuana. My Barbarian was included in the 2005 and 2007 Performa Biennials, the 2006 and 2008 California Biennials and the 2007 Montreal Biennial. In 2008, the group performed commissioned works for the New Museum and Galleria Civica, Trento. They also presented an durational performance installation at Art Positions, Art Basel Miami Beach. In 2008, My Barbarian recieved an Art Matters grant to make a new performance and video project at the Townhouse Gallery, in Cairo, Egypt. They will have their first solo exhibition at a commercial gallery in May 2009, at Steve Turner Contemporary, Los Angeles.

nonwestern_madrid1

Performances:

POLAAT
DANCE WITCHES DANCE
HYSTERA THEATER
THE CASE OF THE STAIRS
NON-WESTERN
VOYAGE OF THE WHITE WIDOW
MOUNTAIN PEOPLES
GERMAN TOOTHBRÜSH / MYTHOLOGIC MASS
SILVER MINDS
YOU WERE BORN POOR & POOR YOU WILL DIE
GODS OF CANADA
PAGAN RIGHTS
MEDIEVAL MORALITY
MB: THE MARY BLAIR STORY
CLOVEN SOFT-SHOE
SQUIRREL RADIO ACTION

In Performance: Bettina Atala (Paris) at Chez Bushwick (NYC)

Caden Manson (Editor In Chief)
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Bettina Atala
Season 1 Episode 2
20th february 8PM

Bettina-Atala

Where is the cameraman standing ?
At what moment the shot will change ?
How many takes were required before getting a result ?

These are the questions that the characters in the movie Season 1 episode 2 openly ask themselves and which are the main subject of the dialogues.

Part film, part theater, part reality television… Bettina Atala’s Season 1 episode 2 examines its own production process step by step, as it is being created in front of the audience. The hilarious and thoughtful work questions the concepts of mass media, Big Brother, and the boundaries of reality and fiction – while offering a delightful critique of social norms and structures.

Known to New York audiences for her work with French performance group GRAND MAGASIN, Bettina Atala will propose a very special NYC version of Season 1 episode 2.

Season 1 Episode 2
20th february 8PM
Chez Buchwick
304 Boerum Street, #11
Brooklyn NY
www.chezbushwick.net

Credits:
Executive Producer GRAND MAGASIN Coproduced by GRAND MAGASIN / Le Consortium, Dijon / STUK Kunstencentrum vzw Leuven / MAC/VAL, Vitry sur Seine / Les Spectacles vivants – Centre Pompidou With the help of the Ministry of Culture and Communication (DICREAM) With the support of Laboratoires d’Aubervilliers and Canal + Short Programme Unit.

In Performance: Daniel Linehan – Montage for Three / Not About Everything (Paris)

Caden Manson (Editor In Chief)
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Hors-Série 2
Montage for Three / Not About Everything
Daniel Linehan

Théatre de la bastille
76, Rue de la Roquette
Paris

Wed.-Sat. 10-13 February, 21h
Reservations: 01 43 57 42 14

http://www.theatre-bastille.com/

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Montage for Three
Choreographed by: Daniel Linehan
Created and Performed by: Daniel Linehan and Salka Ardal Rosengren

“…I transform myself in advance into an image…”
Montage for Three is a choreography-of-images that takes its source material entirely from found photographs, both famous and obscure. The two dancers embody the photographs with the absurd and impossible aim of giving presence to something which is absent. They strive to erase the inherent sentimentality of the photographs in order to see what lies beneath the nostalgia. The living/moving/present bodies confront the mechanical/static/reproduced bodies until the two forms begin to exchange roles. The still images begin to take on a life of their own, as the dancers begin to serve as a trigger for the viewer’s memory.

Not About Everything
Created and Performed by: Daniel Linehan

A single body enters into a circle of books and magazines, and begins to turn. The turning begins gently, but it gradually transforms into insane gyratory motion. The body begins to speak, repeating “This is not about everything, This is not about everything…” Daniel Linehan tells us that he is not speaking about desperation, endurance, or government policy; he is not speaking about celebrities, virtuosity, or metaphysical problems. Yet even though his words seem to negate, he calls to our attention these issues that evoke a world far larger than his contained little circle.

Within the singularity of the obsessive circular motion, Linehan introduces a series of variations, accelerations, and subtle shifts, creating a funny and complex dance. He subjects himself to strenuous physical and mental processes involving multiple simultaneous tasks: to speak, think, react, address the audience, etc., without ceasing his perpetual spinning. Within a constantly moving system that inevitably produces the feeling of disoriented vertigo, Linehan struggles to remain lucid and strives to create a space for thoughtful reflection.

In Performance: Christian Rizzo-L’oubli, toucher du bois (Lille, France)

Caden Manson (Editor In Chief)
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Christian Rizzo-L’oubli, toucher du bois
Lille Opera
From the 25th to the 27th February 2010

As is his custom, Christian Rizzo refuses to content himself with reformulating his past successes. His curiosity, his appetite and temperament lead him ever onwards to new and unexpected adventures. Between a commission from the Lyon Opera Ballet in May 2009 and the staging of an opera at the Capitole in Toulouse in March 2010, he presents a new creation at the Lille Opera.

Lille_Opera

He proposes pieces in which all the elements participate in his atypical choreography: dancers, set designer, music, lighting, video, costumes – but he never applies the same recipe. With L’oubli, toucher du bois, he questions the presence of a body in a closed space, for which the rough materials of the walls are a mix of surfaces upon which to reflect light and sound. He entrusts the musical composition to Sylvain Chauveau, for whom the piano blends with discrete electronic flourishes.

Eight dancers attempt a dance of hope for one who has disappeared. The bodies, lost and desperate, dig through the negative space that surrounds them so that the absence (of which they are made) crystallises into vibrant energy: a work in three acts, to evoke the other in all its forms, with the hope of the calm to come, of rest. The path shared with Christian Rizzo continues, through his multifaceted creative universe.

Digest: Feb 1-7, 2010

Caden Manson (Editor In Chief)
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Books: The Artist’s Body

February 1st, 2010

[amazonify]0500282196[/amazonify]

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Announcements: Six Points Fellowship Seeks Emerging Artists (NYC)

February 5th, 2010

The Six Points Fellowship for Emerging Jewish Artists is accepting applications for our next group of artists! The Six Points Fellowship will support 9 individual artists in New York City (ages 22-38) working in visual arts, music, and performing arts and who want to develop a new project with a Jewish focus, theme, or element. We’ll provide up to a total of $40,000 as well as workshops, Jewish learning, and professional support to develop new projects exploring Jewish ideas and concepts…….–>

Announcement: The End of The Knowers & PERFORM- The Theatrical Situation (Norway)

February 5th, 2010

The workshop platform presents young artists from any art- discipline. Despite of that they work with different mediums and diverse content, they share a heightened awareness and mutual interest in the actual situation where the artwork/performance is situated. That is the performative aspect of the artwork/performance and the presentation of it. Therefore they pay special attention to how the situation is constructed, how it is embedded in the real as well how it produces realities. This being so these artists takes the ambivalent and complex role of the spectator, the theatrical situation in an actual or a metaphorical way, under consideration. Furthermore the performative perspective informs these situations on a broader cultural, social understanding and thus economical and political dimensions resonate through them. Finally there is no interest in pointing out a general performative strategy as such, but rather use it as a tool to inform and challenge the participants own practices as well at looking at the particular tactics of each artists in the workshop.

The workshop platform will be staged as a three day event. The workshop is self- organized by the participants. The public program consists of performances by the participants and public lectures by invited guests………–>

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