Tag: Performance

CAITLIN FISHER ° Post Play

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Drawing on embodied experiences from the football pitch, Fisher uses movement, muscle memory, and narrative to discuss navigating a shifting terrain of femininity under the pressures of neoliberal growth. She uses somatic activism to question the enclosure of the market on the women’s game as felt on the flesh and its impact on movements and the connections between us. Powerful mechanisms of conformity take hold and gendered scripts dominate as players are pressured to prove their talent via football labor and their femininity via bodily labor to garner resources and opportunities. Discrepancies between representation and lived experience, what are the implications for agency, self-expression, solidarity and collective belonging? How could a look beyond the market-state to the embodied commons offer routes to emancipation and how we can conceive of a shared understanding about other ways to be together.

XVII: Assembling Knowledge (Satu Herrala, Ahmet Öğüt, Lotte van den Berg Florian Malzacher)

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At least since Joseph Beuys’ legendary “International College for Creativity and Interdisciplinary Research” artistic assemblies are also a playing field for the production and transfer of knowledge. The 17th edition of “The Art of Assembly investigates along concrete artistic practices how tools and experiences from performing arts offer settings and strategies for unexpected communication and transversal education: Choreographer and curator Satu Herrala in her works focusses on embodied knowledges in artistic and curatorial work, creating conditions for art to summon collective and transformative agencies. Artist Ahmet Öğüt – initiator of the Silent University, a solidarity-based knowledge exchange platform by displaced people and forced migrants- often seeks his collaborators outside the art field. Theatre maker Lotte van den Berg, one of the initiators of the ongoing project “Building Conversation”, centers her practice around collective experiences and the relation between performance and social as well as ecological challenges. How can art offer spaces for empowerment and self-development?

LOTTE VAN DEN BERG ° Building Conversation

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Building Conversation is a dialogical art platform, based in Amsterdam, initiated by Lotte van den Berg and Daan ’t Sas, led together with Peter Aers. In the performative conversations they guide and perform together with participating audiences all over Europe, the theater itself becomes a public space. In over a 1000 performative conversations they explored the boundaries of what theater is and can be. Relating to the theatrical space as a temporary public space; a place in the midst of people, built with our bodies and words, that makes actions and interactions visible and revalues ​​presence. Everybody present joins and together they evoke the fiction, which in this context does not stand for fantasy, the ‘as if’, but rather stands for a heightened reality, an extra focus on what is, ‘the very present present’. Not in the first place concerned with what takes place on stage, but focussed on the way in which we can create stage together.

ANN LIV YOUNG ° Coming too close

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The performances of Ann Liv young often rely on irritation and direct confrontation. There is no shelter, especially for the audience. She pushes the limits, psychologically and sometimes physically. In her lascivious, exalted, and merciless shows Ann Liv Young comes close, too close, psychologically and physically. Trash and depth, naked flesh and gender awareness, flagellation and redemption, chaos and order – her works deconstruct pop-cultural stereotypes, interpret fairy tales very idiosyncratically or retell the biographies of historical personalities. Not infrequently, to land on the ground of desolate reality, Ann Liv Young unsettles her audience by provoking and embarrassing them, transcending the boundaries of intimacy.

CLAIRE BISHOP ° Revisiting Participation

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of Spectatorship (Verso, 2012). In anticipation of a reprint to mark the book’s tenth anniversary, this talk will gauge the development of participation over the last decade in art and performance (and beyond). It will revisit the book’s blind spots—namely, omissions concerning technology and race–and reflect on how the book’s central aesthetic argument, in favor of antagonism, has lost force in the last decade.