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Performance Art Workshop: SITE EFFECT - PAS #78
Submitted by PAS Performance Art Studies on Sun, 05/08/2022 - 12:12Type:
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SITE EFFECT
An 8-day learning program on site-specific and time-specific Performance Art practice in collaboration with STRE!FEN Performance Art Festival in Görlitz (Germany) and Zgorzelec (Poland). Led by the PAS | Team: BBB Johannes Deimling, Laurence Beaudoin Morin and Monika Deimling.
For the third time PAS is collaborating with the STRE!FEN Performance Art Festival in Görlitz and Zgorzelec. After two successful PAS studies in 2020 and 2021 we continue the bonds and exchange that we have established to deepen site-specific performance art research.
Click here to see the process publication of PAS #74 | “SITE SEEING” in 2021
Click here to see the festival catalog of STRE!FEN 2021
The main topic of the collaboration between PAS | Performance Art Studies and STRE!FEN is the site-specific approach to performance art practice, theory and philosophy. Since the start of this collaboration each PAS | Study is researching urban spaces on both sides of the German-Polish border urban spaces that would create a resonance through performance art.
With “SITE-EFFECT” we want to examine the possibilities of urban sites and spaces through performance that would influence the surrounding of a chosen site. The aim is to extend the impact of an action in urban spaces that can be understood as a trigger to provoke artistic side effects.
The city is the ‘classroom’
The focus of PAS #78 | “SITE EFFECT” is the site-specific and time-specific approach of performance art practice, theory and philosophy. The border cities Görlitz (Germany) and Zgorzelec (Poland) will be our classroom and the center of attention for the site-specific artistic research which will lead to public performances at different spots in the cities – on both sides of the border. We will explore and discover the border cities by bike and by foot and research its historic, political, architectural and social potential for performance art purpose.
Site-specific performance art
“If you work site-specific, you need to be very specific with the site” (BBB Johannes Deimling)
The term site-specific describes artistic production in close relation with a physical site. Since its appearance in performance art the term “site-specific performance” has influenced and inspired performance art practice and theory until today.
One could state that each performance work is site-specific since it is always happening in a spatial context and corresponding in one way or the other with the surrounding in which it appears. This thought is supported by the fact that our human body is not able to leave space since it surrounds us the moment we start growing in the uterus.
But the term “site-specific” describes not only a form or state of being but more a working method, a research practice which resonates in so many fields alongside the arts: ecology, humanity, history, politics, time, etc. The spatial context, the site-specific aspect of artistic production, presentation and perception is a reservoir of diverse and – it seems – endless artistic potential to create site related artworks.
The site-specific research is strongly connected to time. A performance will look different in a context of time that goes as far as the site-specific research. It is not only the context to the current situation, but also very profound aspects like day and night or summer and winter or any other connection that time can build in cooperation with a space. The dialogue between site and time will generate vivid artistic research that will create strong and responding performance art works.
STRE!FEN
The German word “Streifen” means stripe, but also to touch, to graze, to roam, to swipe and combines a lot of other sensual meanings. STRE!FEN stands in its meanings firstly for the abstract form, which can be space, border and connection at the same time, secondly for the light, gentle touch and thirdly for the unintentional but exploratory movement. A special space. A special contact. A special movement.
The various meanings of the word “Streifen/streifen” will be the method of our artistic research. Görlitz and Zgorzelec are used as an art space, we work in the social, cultural and political context of the city, we deal with local conditions and structures, architecture, history and above all – with the people.
The border between Görlitz and Zgorzelec is marked by a river (Neiße) a moving stripe which is a contact point, gentle and careful, sometimes unintentional, a sensing, exploring and a first perception of another existence. How do we meet each other? How do we go on? Are we curious about each other?
Schedule:
14 August 2022: official start 10:00, place to be announced
14 – 20 August 2022: practical studies and research in both border cities
20 August 2022: final presentation (throughout the whole day at different locations in the cities)
21 August 2022: reflection, brunch and closing day, departure (15:00)
Level:
Duration:
14. – 21. August 2022
Date:
August, 2022
Price:
Regular fee: € 310 (Price does NOT include travel and accommodation costs) Early bird price: € 250 for registrations until 1. July 2022.
Qualification:
Certificate and the medal of performance
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Performance Art Workshop: Distorted Horizon - PAS #76
Submitted by PAS Performance Art Studies on Sun, 05/08/2022 - 11:52Type:
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DISTORTED HORIZON
A 7-day learning program on performance art in urban spaces in collaboration with KTO teatr, Kraków, Poland with a public presentation day at old market square in Kraków. Led by BBB Johannes Deimling.
If we are lost in a city, we take our phone and check our location, type the place where we want to end up and just follow the proposed instructions. To reach our destination is often more important than the way itself, so we stick to the lines on the map and navigate through the city labyrinth. And we can assume that we are not the only ones walking in this way. Others might not need these maps anymore, because they know their ways and even shortcuts. And a cat moves very individually through the city like humans would probably not do.
A horizon is often described romantically as something wide and open, something far away and something unreachable. But even in the city we have horizons, and they change by each turn we take and every step we go further. It is often close and shifts due to the movement inside the city architecture. The city horizon seems to be reachable, and we know that another horizon opens up the closer we approach it.
When we walk down the street, the lived reality deviates from what we can see on our screen or on the city map. While we roam around in the city, we leave traces of our presence behind and discover with each step the space in front of us. A particular atmosphere is created by the rhythms of the steps, the crossings, the stops, the detours, the gatherings. A sound texture made of snippets of conversations and horns, a hole in the sidewalk or a puddle to go around, a prohibition sign or an attractive shop window come to inform our experience of the city. They distort our horizons. In the distortion is the experience of the city and it’s personal and collective appropriation.
Distortion is the alteration of the original shape of something, such as an object or a situation. In the art world, a distortion is any change made by an artist to the size, shape, or visual character of a form to express an idea, convey a feeling or enhance visual impact.
In PAS #76 | “Distorted Horizon”, we will explore the city from an angle that is between specific locations: what is happening in transit, on our way and how we can use these observations to create performance art works that are focusing on the personal horizons of the people and their transition movements. We try to capture the energy that runs through the streets and reveal a surprising, captivating, and rich dialogue with the urbanity.
Based on this research we will present our final performance in the heart of the city Krakow: On the old market square where all these aspects are condensed in one place. The performances will question how we can we contribute with a distortion to attract attention and how to establish an artistic dialogue.
Schedule:
5 July 2022: official start 10:00 at KTO teatr (Jana Zamoyskiego 50, 30-523 Kraków)
5 – 10 July 2022: practical studies and research in the city of Kraków
10 July 2022: final presentation (throughout the whole day at old market square in Kraków)
11 July 2022: reflection, brunch and closing day, departure (15:00)
Level:
Duration:
5 -11 July 2022
Date:
July, 2022
Price:
Regular fee: € 450 (Price includes accommodation and meals, but not travel costs) Early bird price: € 390 for registrations until 30 May 2022
Qualification:
Certificate and the medal of performance
Host & Provider:
Provider's Link:
Workshop online: rethinking exhibition models of the Venice Biennale in relation to the history of the curatorial practices
Submitted by Curatorialschool on Wed, 03/09/2022 - 10:09Type:
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Workshop online: rethinking exhibition models of the Venice Biennale in relation to the history of the curatorial practices.
02.05 - 01.06.22
Deadline for applying: 15.04.2022
This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.
The objectives of the workshop:
To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.
After each session a discussion will be hold in order to exchange different opinions and views on the approach of the singular curatorial practice. Rethinking specific curatorial models, by analyzing their origins and their subsequent developments is one of the key elements of the workshop.The mission is to create a critical ability in order to discover the proper curatorial model.
Practical exercise: in the last session every participant will have to present an exhibition project by applying one of the models identified during the workshop.
THE PROGRAM
First week: 02- 04.05.22 at 6pm - 8pm
Brief introduction of the program.
First issue: The world is turning global - a post-colonial approach to the exhibition making. Jean Hubert Martin curates in 1989 Les magician de la Terre in Paris, four years later the concept of nomadism and multiculturalism is the main idea of the Achille Bonito Oliva's Venice Biennale in 1993. Further developments are identified in some recent exhibitions which are reflecting critically on the colonial past. Case study: the curatorial approach of Charles Esche at the Van Abbe museum in Eindhoven and the exhibition organized in 2018 at the Hamburger Bahnhof in Berlin: Hello World.
Open discussion
Second week 09 - 11.05.22 at 6pm - 8pm
The curator as an interpreter of the art history by creating new narration and visions through the display of the exhibition.
1995 at the Venice Biennale, Jean Clair curates an edition called: Identity and Alterity: Figures of Body 1895 - 1995. Instead of exploring the history of this century’s avant-gardes, Clair interrogates another, alternative history, one he perceives as ignored and overshadowed in the Modern canon’s conventionally accepted plan. In 2013 Massimiliano Gioni at the Venice Biennale curated The Encyclopedia Palace. The exhibition structured like a temporary museum that initiates an inquiry into the many ways in which images have been used to organize knowledge and shape our experience.
In 2015 a show at Punta della Dogana in Venice curated by the artist Dahn Vo, called Slip of the Tongue. The show was the result of a narration of his personal mythologies, featured with art history masters and contemporary art works.
Open discussion
Third week 16 - 18.05.22 at 6pm - 8pm
The curator questioning his time: The visionary curator Harald Szeemann, who launched at the Venice Biennale in 1980 the “Aperto” section for young artists and in the 1999 Biennale replaced it with “d’Apertutto”, a strolling, horizontal exhibition, a succession of events in exhibition spaces. An art exhibition which lied primarily in the quality of the critical and cultural proposals and raised many questions. How do art forms react to the prevailing globalization of languages? To the process of economic, financial, commercial and technological integration? Harald Szeemann is the curator who has always been able to criticize and question his time. Documenta 5 in 1972 is a perfect example of his curatorial attitude as much as the two editions of the Biennale (In 2001: Plateau of Humankind. The Visual Arts Biennale as a platform of humanity.)
Fourth week: 23 -25.05.22 at 6pm - 8pm
The exhibition as a collaboration of a team of curators. In 2002, Documenta 11 in Kassel, curated, by Okwui Enwezor was structured in five platforms which aimed and described the present location of culture and its interfaces with other complex, global knowledge systems. Okwui Enwezor created a team of 6 curators from different geographical area. One year later at the Venice Art Biennale 2003 was presented: The dictatorship of the viewer. A collaboration between a group of world leading curators under the direction of Francesco Bonami. Ten different exhibitions were representing a mapping of the contemporary art from all over the world.
The collaborative model is the bases also of the exhibition Hello World where a more structured concept is connecting each different curatorial section.
Fifth week: 30 - 01.06.22 at 6pm - 8pm
The last week is devoted to the work prepared by each participant and to discussion. The practical exercise aims to create a critical capacity of identifying the models presented and analyzed during the lectures in contemporary art exhibitions. Each participant will present an examples of exhibitions or will structure a new project which is related to the models discussed. The program aims to give the opportunity to create, according to his/her own artistic statement, an exhibition defined by a strong critical and innovative content.
The fee per course is 590 euro. In case you choose to take part to more than one course, a discount of 100 euro will be applied to the fee of the next courses.
Our Online Delivery Method
Online Study Luctures effectively run over the week – Monday and Wednesday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.
Live Seminars - Each lecture is two hours long at the end of each lecture we will have a half an hour for questions and discussions. Your tutor will hold live seminars with you and Google.meet discussions are accessed via a web-link which we will email to you. These sessions enable you to ‘meet’ your tutor and fellow students. To participate you will only need an internet enabled device; you do not need a Google.meet account. If you have questions that you were not able to raise in the discussions, you will also be able to communicate with your tutor by email.
Level:
Duration:
02.05 - 01.06.22
Date:
May, 2022
Host & Provider:
Body mapping workshop with artist Debbie Lee
Submitted by Leyden Gallery on Sat, 11/20/2021 - 01:25
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November 24th 4-6pm, Body mapping workshop by Debbie Lee.
Body mapping: ‘using the outline of the body as a container for exploring identity’…
On the 24th of November at 4pm artist Debbie Lee will be hosting a two-hour guided body mapping workshop in our Aldgate gallery space.
The intention of the workshop is to explore positive body image through creative expression, by using your body outline as a container. This technique is inspired by eastern medicine charts, body painting and tattoos as well as children’s x ray drawings. You will leave the session with your very own self-portrait body mapping.
Debbie Lee is a Dorset-based artist. Her background is in drawing and painting, however more recently Lee has turned her research to Indian folk art while training to be an art therapist. Lee’s work often incorporates domestic scenes and nature alongside her portraits showing a surreal and intimate connection between the self and subconscious.
Please bring an apron if you wish, and any means to transport your work.
All other materials provided but you are welcome to bring your own.
Body mapping with Debbie Lee:
24th November 4pm until 6pm
Book online at: https://www.eventbrite.co.uk/e/well-well-well-positive-body-mapping-workshop-with-artist-debbie-lee-tickets-191221989117?ref=eios
This workshop is part of our wellness themed exhibition “Well Well Well…” running until January 2022. The exhibition features 12 artists who have created work on the theme of wellness both during and outside of our recent lockdown, some taking a more cathartic practice and others a more scientific approach. Several of the artists have wellbeing related careers alongside.
Level:
Duration:
2 hours
Date:
November, 2021
Price:
£9.21
Host & Provider:
Address:
Leyden Gallery
Aldgate House
33 Aldgate High Street
London
EC3N 1AH
Contact:
info@leydengallery.com
Moving With Grace – Online Feldenkrais Zoom Classes
Submitted by nativestate on Tue, 09/07/2021 - 14:53
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Where: Online – Zoom
When:
– Every Tuesday at 19 CET.
– Every Thursday at 11 CET.
Costs for participants: Free or pay what you wish.
Improving the organization of the neck, shoulders and jaw.
Releasing tension, pain, blockages.
I am teaching online Feldenkrais lesson series focused on the head, neck, jaw, face, and eyes.
Movement patterns, tightness and unease in these parts are usually all linked together and are very common. They can be often experienced as pain, TMJ issues, headaches, stress, restricted breathing or bad posture.
You will learn how to improve the use of this area of the body and integrate it with the rest of yourself.
It can have an impact on your well being by:
– Reducing chronic muscle tension
– Improving flexibility and range of motion
– Completing tasks with less effort
– Improving sleep and breathing
– Reducing stress and anxiety
– Improving balance, coordination and posture
– Increasing athletic performance
How does it work?
Restructure your neuromuscular patterns to move without pain.
Classes are designed as movement inquiry. You will explore how you use and experience your body, and how you can improve it.
I will guide you verbally in slow, gentle movement sequences. This process intends to change deep unconscious movement habits, that are causing unnecessary tension in the body, and to create space for more efficient use of self.
During the class, you will be mainly moving in laying position or sitting on the floor and following my verbal guidance. There is no need to look at the screen, and your attention is free to focus on your own experience.
->> Free registration at https://nativestate.co/
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Price:
Free or pay what you wish.
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taller de fermentaciones, biomateriales e hidrocuerpxs con AOUCH.Lab
Submitted by materic.org on Sun, 08/08/2021 - 21:13
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FIBRAS MICROBIANAS – SIMBIOSIS Y LAS PROPRIEDADES DE LA MATERIA
En la Primavera de 2015, Joana Moher (AOUCH.Lab) empezó a explorar intuitivamente las fermentaciones, como un intento didáctico experimental de intersección entre ciencia y alquimia, botánica y soberanía alimentar, comprometida en la búsqueda de materiales biodegradables y biomiméticos, quizás kinestésicos hacia una nueva incisión textil. Lo que a la partida era solamente generar una materia prima, con el pasar del tiempo se transformó en preservar un jardín, lleno de relaciones simbióticas interespecie entre humanos y criaturas no-humanas, multidisciplinar y que ha coevolucionado hacia un taller. Donde y con las fermentaciones, en particular a través de la Kombucha, se puede acompañar procesos y practicas metabólicas, ecológicas y biomatéricas, complejas de pequeñas formas de vida donde los humanos al final son simples colaboradorxs. El objetivo de este experimento domestico, de este taller es compartir recíprocamente esas herramientas y explorar plásticamente la biomateria-viva y sus propiedades y intersecciones como prima-matter hacia una creación plástica, textil o performativa o transdisciplinar.
LAS PROPRIEDADES DE LA MATERIA
ECUACIÓN a través del TIEMPO
[Kombucha Tea + Azúcar+ FERMENTACIÓN] = Scoby Fungi- Hongo de Manchuria o Medysomyces Gisevil
[Scoby + Crecer/Preservar /Teñir+ Secar ] = Celulosis MICROBIAL /Cuero – Papel / Cuerpo Vegetal
Incisión Plástica = X
MENÚ Fermentación
Dado ser un taller totalmente experimental, de desarrollo de biomateriales y procesos propios existe una necesidad de una práctica presencial para iniciar un proceso de cultivo y transferencia de herramientas relativas a las propiedades de la materia e introducción a las técnicas de teñido, moldeado, secado, etc. Pasadas 3 semanas, es vital un acompañamiento presencial o en línea, para activar un nuevo ciclo de maduración y reforzar técnicas de preservación, teñido, moldeado, secado, etc hacia el desarrollo de la incisión plástica final transdisciplinar. Mediante los procesos y terminada las incisiones plásticas, quedaría abierta la propuesta de sincronizarnos en una fecha a coordinar con las necesidades creativas y de forma voluntaria, una exposición-performática de la materia e /o memoria gráfica final en formato Fanzine, en el Carbono Lab.
CONTENIDOS A EXPLORAR
+: fermentaciones, simbiosis y hidrocuerpxs
+: procesos de cultivo y preservación
+: propiedades de la biomateria
+: procesos de teñido y botánica digestiva
+: procesos de secado
+: herramientas hacia una incisión
INFO COMPLETA EN >>> http://www.materic.org/taller-de-fermentaciones-biomateriales-e-hidrocuerpxs-con-aouch-lab/
Level:
Duration:
3:30 hours
Date:
September, 2021
Price:
45
Host & Provider:
Contact:
espai@materic.org
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