The Inhabitants of ImagesRabih Mroue9th October 8.30pm Toynbee StudiosRabih Mroue will present his new video-lecture: The Inhabitants of Images (2009), a playful complex analysis of the use and misuse of images for political and ideological purposes in Lebanon and the Middle East, coproduction between Tanzquartier-Wien, Bidoun Magazine and Ashkal Alwan/Beirut.
PromisesJoe Kelleher, Giulia Palladini, Silvia Bottiroli9th October 2010, 3.30pm Toynbee StudiosThe dialogue has already begun. It begins with the appearance of the work. A 39 year-old theatre festival, for example, in a town without a theatre; a festival that breaks with four decades of tradition in order to re-examine and renew that tradition; that addresses the urban texture not as a void that needs filling but a space of generation; that imagines a spectator in motion, whose trajectory is governed, as curator Chiara Guidi writes, by a sensation of lost powers, and by tiredness perhaps, but who may be capable of conjuring from this trajectory ‘a place filled with promises.’ Or else the emergence of a new practice, work still in its nascence, work being done with the young, for example a company dedicated to the non-spectacular rigours of collective dance, and to mining the minimum pause, tracing the presence of a rhythm, as director Claudia Castellucci puts it, between one beat and another. But also then the channels, the forums, the platforms of exchange through which events and practices such as these and many others are debated over and contested and sustained, by a self-reflexive critical writing, and also by a commitment, as the editors of the journal Art’O: culture and politics of the scenic arts put it, to the idea of a future of performance even in those spaces most emptied out by current ideology.Joe Kelleher’s dialogue for Performing Idea is being pursued through an engagement with events, practices, and platforms such as these, and with the people doing this work, artists, curators, arts administrators, writers and other spectators, who have taken into their care and are mapping out, sustaining, and re-inventing the promises of performance in the Italy of the early twenty-first century.
Performance Matters: Performing Idea – Performative Writing
8th October 3.00-7.30pm
Performance Matters: Performing Idea – Performative Writing8th October 3.00-7.30pm (not 7th as stated on disk))Toynbee StudiosWith: Hélène Cixous (on video), Matthew Goulish, Adrian Heathfield and Peggy PhelanNew forms of writing on and around contemporary art and performance have emerged in recent years, alongside the emergence of the artist as cultural critic and curator. These forms of writing often problematize the notion of critical distance, deploying creative, dialogic and autobiographical strategies to engage with the multiple affects of the artwork. To what extent may critical thinking and writing be an art form? Speakers will examine the histories, limits and possibilities of the forms of ‘performative writing’, the dynamics of the performing idea.This session on Performative Writing will also comprise a preview of Trashing Performance, the second themed year of Performance Matters, with contributions from Oreet Ashery, Mel Brimfield, Gavin Butt, Dominic Johnson and Bird La Bird.
This performance is centred around a series of re-enacted performances based on the works of the late American artist Stuart Sherman (1945 – 2001), a seminal though underexposed figure in the history of performance art.
Performance Matters; Performing Idea – Other Durations5th October3:00-7:30pmToynbee StudiosWith: Janine Antoni, Matthew Goulish, Bojana Kunst, Boyan Manchev, Fred Moten and Lara ShalsonTime in Western Cultures continues to accelerate and a slower unregulated life is seemingly nowhere to be found. Contemporary art has seen a resurgence of performances of long and short durations and a re-valuation of historical works of duration. Artists are increasingly playing with, inhabiting and transforming the time of the artwork. Speakers will address questions of how we can now think of the time of performance? What are the relations between performance, time and cultural value? How is performance reconfiguring and othering our understandings and experiences of time?