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Showing posts with label Lectures. Show all posts
Showing posts with label Lectures. Show all posts

Moving-Writing: J.Burrows & A. Heathfield.(4/10/10).Toynbee Studios


She says, “We all are just copying machines but every copy is different”

He says, “What is time? Time just is. I am time”

Thought is part of this reality. We don’t really think about it, but we are thinking it.
A copying machine (Image of an eye)

The creative act must include a subversion.
“To distract yourself from yourself so that yourself becomes more visible”

Repetition since 1970s at least. Every repetition carries difference as it takes place in time.
Experience of boredom – exhaustion.
DJ: Repetition of tracks to slow our expectation and then heighten them up.

[PROCESS]: Move away from my own thoughts and try to find writing (borrow voices) which would eco our experiences. Release from the obligation to create something new.
Re-enactment – going back

Economic, consuming culture.
BOOK: First as tragedy, then as farce. Slavoj Zizek

Redo something that is not radical anymore
Restaging old choreographies comes from curators?
Dance: crisis of movement
Liberate, transform, return histories by bringing into the present.
Acknowledge the relation between past and present.

BOOK Arts in society: Being an Artist in Post-Fordist Times. Paul de Bruyne / Pascal Gielen
Do we resist? How do we know if we resist?

On Repetition. (07/10/2010) Laban, London

Repetition is the mother of knowledge
By repetition you can stop time.
Is there such a thing as repetition?
Repetition BOOK (the only repetition is the impossibility to reproduce)
·      Deleuze : 1)Naked, exact repetition 2)clothed
·      J.Cage
·      Getrude Stein: insistence=repetition with change that moves in time Personal/Subjective
“If a thing is worth doing once, is worth doing again”
Practice of repetition from modernism and beyond.
Late 60s shift
Carl Andre, Equivalent
Piano Phrase 1967 Steve Reich
Hannah Wilke
Relation in space 1976 - Abramovic and Ulay
Abramovic and repetition
Bruce Nauman , one hundrend live and die, 1984

·      Eric Satie, Vexations, produced for 1st time by John Cage in 1963 A single page score repeated 800 times. 
Attention
Stressing how people receive pleasure / perception of pleasure
Bring in sth new into sth already known.
Recognition: what is it that you might be a able to recognize but not being able to remember.
How repetition gives the identity to the original. Repetition gives to a thing an identity. (Deleuze) (J.Butler)
Subjectivity

·      The status of the spectator and the performer and their experiences
Performer (J.Cage) didn’t learn the piece didn’t memorize it…
Freedom – engage in different ways
Sense of familiarity
Repetition versus duration… enduring time… stillness of time… create sense of endurance..
Duration as a sense of repetition…

·      Ulay and Abramovic “AAA-AAA” 1978 
Animalistic scream
15 minutes scream. Who is the winner
developing spiral going more and more…
not synchronized.. not repetitive in a sense but continuation.. developing.. acceleration… which are the rules that these performers have set for themselves. Game..
crying or scream
drift and come back to it
Live Performance or just video?
When do you decide to stop repeating and why? Is it exhaustion that makes you stop? Exhaustion in repetition and body limits
Desire, hope for them to come closer, for sth to happen
Effort of performer and of spectator
Rhythm continuous scream
Build an identity by repeating
Feeling trapped

·      Connor, S. (1988), Samuel Beckett: Repetition, Theory and Text, Oxford: Basil Blackwell, pp. 1-15
Good introduction
Eternity is repetition (present) the eternal repetition
Why eternally return?
A.Heathfield (idea of return)
Repetition is central
“Repetition fixes our sense of experience”
·      “representations of experience” = Repetition of repetition
o   :Aristotelian mimesis, representation of repetition, recording, memory, review, map,
knowledge about what its effect
Book : Out of now, A.Heathfield.
Reference to the source but includes an originality
Restage of the work of other artists work
Originality? Truth?
Restaging (eg. groups touring)
Desire can not be completely satisfied.. pleasure as unpleasure, how you  take pleasure from unpleasure..

·      Eco, U. (1997), ‘Innovation and Repetition: Between Modern and Post-modern Aesthetics’ in Capozzi, R. ed., Reading Eco, Bloomington: Indiana University Press, pp. 14-33,
Intertextual dialogue…  Different audiences, critical audiences, cultivating audiences
Pleasure we take by repeating something, by knowing what will come next…
Piano phase by Ana Teresa de Keersmaeker, rosas
Anticipation..
BOOK: Arts of Impoverishment:Beckett, Rothko, Resnais
I have very little or nothing to say..  difficulty..
How much time you need to allow to experience the work fully..
Modern Aesthetics and theories of art
Metaphor novelty:Criterion
Romantic Aesthetics: Difference between major-minor Art , Art and crafts
“Scientific revolution”
Every work of modern art = a new law new paradigm
Recover what you already know, point by point and what they want to know again
P.18 the era of repetition
Repetition of mass media =/ Repetition of major arts (It’s a difficult distinction)
Post modern aesthetics
“new aesthetics of seriality” (Italy)
Not discuss repetition in the sense of Kierkegaard neither of Deuleuze
Repeat= to say sth or do sth the 2nd time or again and again
Series= a continued succession of similar things
To serialize = to repeat= make a replica of the same abstract type
“One thing is the same as an other when the former exhibits the same properties as the later at least under a certain description”
1) The Retake
is dependent on a commercial decision
not strictly condemned to repetition
ex. Different stories of the Arthurian cycle

2)The Remake
telling again a previous successful story
ex. The whole of Shakespeare is a remake of preceding stories
“Interesting” remakes can escape repetition

3) The Series
ex. TV Serials
in fact one is enjoying it because of the recurrence of a narrative scheme that remains constant.
Respond to infantile need of hearing again always the same story
The spiral (variation of series)

4) The Saga
Its genealogical, the actors do age
A history of aging of individuals, families etc
Continuous lineage ex.Dallas
Intertextual Dialogue
1. A given text echoes previous texts
2. Genre –embedding  ex. Musical Broadway
3. The work that speaks of itself : not the work that of a genre to which it belongs, but a work that speaks of its own structure, and of the way in which it was made. (p.21)
Hegelian problem of the Death of Art.
Thin line between High-brow Arts and low-bow Arts

P.28 Plagiarism quotation parody the ironic retake, the intertextual joke
1) the concept of absolute originality is a contemporary one, born with Romanticism
2) Classical art was in vast measure serial
3) The Modern avant-garde (beginning of 20th century) challenged the Romantic idea of “creation from nothingness”
(Collage, art about art, mustache of Mona Lisa etc)


·      ‘After the Fall: Dance-theatre and Dance-Performance,’ in Kelleher, J. and Ridout, N. eds. (2006), Contemporary Theatres in Europe: A Critical Companion, London: Routledge, pp. 188-98
pp.188 Pina Bausch mot how but why the body moves
The repetition of falling
Press hard against psychic and physical limits, finding insights and new means of articulating the dynamics of gender, sex, sexuality and human relations.
Relay personal and cultural resonances of independence: presence-absence, masculinity-femininity, sex-death, attainment-loss
The body performing: Means to access and articulate this wound/ means of cure/ means of resistance.
The other can’t catch the FALL = Imperative to Recognize, remember, and repair.
Repair, Resolution, ending, read another layer, being familiar with the work.
Time. Desire. Memory.
P.190 An After-space: A space of remembrance and re-enactment within the present
p.194: “interlude on writing Bausch. He know he writes this relation too. To bare his wait, to  … and so it begins again.
Memory


'Performance. Histories and Disappearances.' (20/2/2010) Performing ARCO, Madrid

 Performance, Memory, Re-enactment.
o   Ong Keng Sen (Singapore)
·      Alternative University: Artistic Projects
·      In-Transit Festival (Berlin)
o    
o   Narrating the stories of the past
o   (He started the talk by describing; telling the story of how the project started…met that old woman who was an ex-dancer….)
o    
o   During dictatorship killing of artists. Bring those narratives onto stage. He asked her to perform herself onstage. Having both absence and presence. She was the “embodied body”.
o    
o   Documentary on stage. Dealing with ‘disappearance’. Performance about the betrayal of death.
o    
o   Tracing the thread of memory (Butoh)
o    
o   Is this a document of authenticity?
o    
o   Tino Segal: Is it important to be performed by them?
o   Ong Keng Sen: Yes it is for my work.
o    
o   The fading body. The deciding body is fading on her.
o    
o   Political bodies.
o   Year 0: Return bodies to the agricultural. Rehabilitation, re-education of bodies.
o    
o   How to retrace?
o   Performing absence.
o   Performing themselves: Duality as presence and absence.
o    
o   “ Diaspora” (Performance in Edinburgh)
o   5 visual artists with background in migration/displacement looking at family...
o   Interviews: Tong- Collection of other people’s photos in order to trace the past. Photos found in antic shops.
o    
o   Background: Videos with narratives of traveling by different means. (Train, river etc)
o    
o   Real/Representation/fiction? After ten years of performing themselves
o    
o   Different methods of documentary on stage/ of representing the absence.
o    
o   In other performance: Read the script as of the performance is happening. Performative narrations through the translations themselves.
o    
o     
o   PERFORMING AUDITORIUM
o   1) Bringing to present.
o    
o   Ana Longoni (Argentina)
o    
o   1) 1973-1983 Dictatorship
o   2) Mid ‘90s
o    
o   A photograph that gets another meaning – Presence on missing people.
o   Making silhouettes of missing people
o    
o   30.000 bodies. Using models to create silhuettes. Using a demonstrator (a person) who ‘gives’ his body to the missing person.
o    
o   Take somebody on the street and put against the wall and draw the silhuette on the wall. (Plaza de Mayo) (Dictatorship)
o    
o   1984-‘85
o   1) Mothers take profile of peoples hands and write names and dates on them. With these they covered the demonstration.
o   2) White masks covering the faces of the demonstrators but also following the idea if missing people because they were canceling their names, their identities.
o   3) Re-lounge public actions. Scratch system. Scratch can happen anywhere. Scratch speaks about victims. They were looking for the responsible ones.
o    
o   Street Art: Signaling art Ï Conceptual Art
o   As a memory of the existence of jails etc.
o    
o   Antonio Preto (Mexico)
o   Cabaret theatre.
o   Jesusa Rodrigues and Liliana Felipe – “La Soldadera Autogena, 2001”
o   Las Reinas Chulas
o   Lesbianas de ayer, hoy y siempre (2007)
o   Las hijas de Sapfo.
o    
o    
o   2) Re-enactments.
o   Rebecca Schneider (Brown University in Providence, Rhode Island, USA)
o    
o   Protest now and again.
o   Re-enactment
o   Document/ Reenactment/ Document / Reenactment…
o   Performance circulation.
o   Cindy Sherman/ Nick Ridout
o   Inter in Animation between liveness and documentation. How they undo each other..?
o    
o   Re-document
o    
o   In doing again, to think again.
o    
o   Not interested in Artistic Re-interpretation like Marina Abramovic does. (Reenact 7 pieces at the Guggenheim) or Vito Acconcis piece “seedbed” by M.Abramovic. Appropriation Art.
o    
o   BUT instead interested in being AS CLOSE AS POSSIBLE to the first. Literal translation. Too close copy.
o    
o   W. Benjamin lluminations. p.78 ‘The task of translator.’  Trans: S.Rendall   OR   H.Zohn




o   Threat of literal and cross-temporal translation.
o    
o   Put themselves in the place of the past by posing as if they were soldiers etc
o    
o   They will touch time.. .Play across their bodies of what really happened. But also accessing what the document is missing.
o   Not in the past but NOW. Ex. The civil war has not finished, we are now still fighting.
o    
o   Still photographic images. Questioning the liveness of the photograph.
Is it an evidence of liveness?
There is a space of uncertainty between those two spaces (live or not live)
To relive the still.
Looking at the photograph only as a document (as Roland Barthes was), that is only an indication of the past, of sth that has disappear means that we see time as linear.

Live performance disappears in time, it troubles linear temporality.

Reenactment has to do with time.
Narratives of progress. Narratives of development are narratives of certain capitalist time.

Trouble of mimesis (the face, the copy) its relationship to time is composed by temporal lug or temporal drug.

Gertrude Stein: “Trouble with theatre is liquidated time.”

Extreme mimesis.
Elizabeth Freeman Packing History. History 2007
1967 - Shulie - 1997
o   The dialectic of Sex. 1970
o    
o   One time passing as another time…. but also … Time passing and not passing.
o   “The bygone is not gone by!”
o   “The live, not entirely or not only live”
o    
o   Sharon Hayes: After Before - in the near future: Art in General New Commissions Program Vol. I
o    
o   NOW: National Organization of Women.
o    
o   Live reenactments of speeches without being able to locate in space and time.
o    
o   Compose the sense again of the past. Not only how to protest but when to protest. We are not starting now or our now is not the only now.
o    
o   Repetition. What happens to linear history if the second becomes first?
o   What are the limits of this future?
o   What are the limits of now?
o    
o   Revolution is over, it can’t happen.
o   Raymond Williams.
o   Revolution is to turn around.
o    
o   The celebrated substance of performance.
o   Now it doesn’t remain.
o   The ephemerality of performance.
o   Political possibility of reprotest.
o   Temporal drug.
o    
o    
o   Janez Janša
o   How to deal with history in the context of performance.
o    
o   1960’s - Contemporary Art.
o   History of contemporary art.
o   Existing performances or artistic works. Not all of his works he calls ‘reenactments’ but some of them he calls ‘reconstructions’.
o    
o   Fragment, Dramaturgy. Elements of everyday life. Playing – ironizing authorities. Not in direct confrontation but anti-authorization. Not only external terms but also aesthetical authorities.
o   Not in relation to the mainstream performances.
o    
o   Pupilija    maps : 1969 / 2006         videos: 01, 02


o   1) Why to reconstruct
·      ‘80s Reconstructions of historical avant-garde of the ‘20s. (Surrealist, Bauhaus etc)
·      2000 Reenactment of historical events or performances. Every act of historising a construction.
·      Always we perform past for the future.
o   2) Why reconstruct if we have a good recording?
·      Authenticity.
·      What is performance as a live event?
·      Edited audience.
·      Fidelity, copying and doing as close as you can.
·      Always miss the target, the point.
·      The only true act would be reconstruction of the audience!
·      We can never have the same context.
o   Pupilija : How would MTV look like in 1969? Collage principle.
·      Relationship between two different times.
·      Bring back voices that have been erased or forgotten. When you reconstruct there is interest in bringing back voices that are not heard! (Political act of reconstruction)
o    
o   Scandalisation of a performance.
·      The history of art by works which stayed only because its scandalous dimension and not or not only its quality!
o    
o   Creating show that deals with historical event. Why not to construct instead of one, two histories?
o   Ex. With Pupilija: Not being allowed to kill chicken on stage. So we won’t kill the chicken on stage but we will show what is the real situation (show the real is anyway the point of killing a chicken on stage)
o   Show the dimension that we live now. Þ Stage censorship or prohibition. Legal and legitimate.
o   ß
o   Chapterhouse
o   Or
o   Home
     A.  Video                          B. 1st hand accounts of scene
     C.    Regulation quotes      D. Act (kill chicken)
o   Decision of the audience by voting.
o    
o   What you reconstruct and how you do it?
o   Whether the original performance existed at all?
o    
o   Media mediated society!!! Real and unreal.
o   Reconstruction:
·      Confrontation between real and performed.
·       Paradigmatic performances of media cultures!!!
o   Search for the real (killing an animal in a performance)

André Lepecki: 'The Body as Archive: Dance, Re-enactments, and the Pastness of the Future'. (4/2/2010) Roehampton,London

o   Hosted by the Research Centre for Performance and Creative Exchange  

 In this lecture, Andre will address the problematic of dance in relationship to its past via the ever-increasing practice of "re-enactments". He will argue that re-enactments, understood as a bodily archiving of dance, can only be assessed in their political force if we first bypass the binary opposition proposed by Diana Taylor between "archive and repertoire" -- and depart rather from a more temporally dynamic understanding of the intricate interweavings always already in place between "body", "dance," and "archive." 
o   Using Michel Foucault's definition of "archive" as a general system of transformations, Andre will propose that some recent dance re-enactments should be seen not as historiographic-melancholic compulsions to repeat, but as singular modes of politicizing time and economies of authorship via the activation of the body as an endlessly transformational archive.

o   Dr. André Lepecki is Associate Professor and Acting Associate Chair at the Department of Performance Studies at New York University. He is the author of Exhausting Dance: Performance and the Politics of Movement (translated into 6 languages), and co-editor with Jenn Joy of the forthcoming Planes of Composition: Dance, Theory and the Global (Seagull Press). He is currently co-curating with Stephanie Rosenthal an "archive" on dance and visual arts for the exhibition "Move" to be opened in 2010 at the Hayward Gallery, London.
  
o   NOTES
o   Re-enactment – Archiving
o   (Walter Benjamin) essay
o   “The task of the translator”
o   Inefficiency of writing/choreographing = Trace
o   The trace is not the movement
o   “Paper machine” Derrida
o   Choreography allows dance to return
o   Paradoxical effect of turns and returns
o   Movement as always escaping representation
o   So, How can we ever return to the archive trace?
o   Dynamic system of incorporation and of excorporation.
o   Joy (Spinoza)
o   What is to archive and what is to reenact?
o   Archive as a metamorphic system
o   Notion of the body as metamorphic
o   Repetition
o   Turning her body into an archive
o   Performance zooms into the future, it doesn’t return into the past
o   Repertoire: Oral traditions
o   Archive: Paper
o   The body should be the archiving mere
o   Re-enactment: A mode of performance that has consistency on its own
   
o   React feminism – exhibition 2009
o   How reenactment could be a feminist act?
o   Political performativity of re-enactment of conference dance
o   Copywrite authorship
o   Excorporation – Incorporation (Between author and re-enactor)
o   Trasmition: A parasitic one
o   Creative disrespectful, profane (Giorgio Agamden) without any regards to the original
   
o   Two curatorial perspectives
o   1) The gift and dissemination (J.Derrida) Execution of exact circulation, what leaves the house has to return to it. (Economy)
o   Re-enactment: Enacts the purpose of the end of economy
o   Proper re-enactments?
    
o   2) Appropriation 1962 lecture Time in being
o   -The task of the translator
o   Unmetaphoriacal objectivity
o   “Unleash as you translate, give other possibilities to the work”
o   Re-enactability may not be reenacted  (Walter Benjamin)
   
o   3) Body as archive against authorial economies
o   Nachbar Martin “ Urheben Aufheben”
o   Perform a Return
o   Research in the archive
o   System of excorporations and transmitions
o   Archive for FOUCAULT, Not a thing, recipe…
o   General SYSTEM OF FORMATIONS AND TRANSFORMATIONS OF STATEMENTS choreographic
o   Singularities, events
o   Drugging Martha back from the dead
o   Is the work of art over? Or is it never over?
o   Death of the author / change of economy to gift
o   Archive forms and transforms
o   Everything gets lost and nothing gets lost.
o   Archiving forms, deforms, transforms…
o   Corporeality of the archive
o   Recreate of the missing items of the archive
o   Scores of happiness. Reinvention (Allan Kaprow)
o   Trash, Collector  When you stop collecting?
o   Ligia Clark
o   “The law of the father is the law of the house”

1) Creative               / Disrespect /          2) Irrigorous       
   



To what the author wants BUT look to what the work wants!
   
o   Affinity to what? To what the work wants for you
   
o   Re-enactments: Repetitions by the author
   
o   IDEA Make always the same piece, re-enactments of the same piece
   
o   Recognition is not necessary.
o   Recognition allows for historiographicly validate reenactments
o   Reenactments of pieces that are not highly recognized
o   The recognition validates the project
o   Dissemination
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