TUESDAY, MAY 6
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Photo Credit: Miguel J. Yurazeck at Latitud 2013. Picture by Jesus Jimenez ARTISTS:
Débora Carnevali (MX) www.deboracarnevali.weebly.com
Edurado Oramas (CO) www.eduardooramas.com
Elizabeth Wurst (PE) www.elizabethwurst.com
Fausto Luna (MX) www.fausto-luna.tumblr.com
Gonzalo Rabanal (CH) www.rabanalgonzalo.blogspot.com
Ian Deleón (CU/BR) www.iandeleon.com
Karla Rebolledo (MX) www.youtube.com/watch? v=Yksl528XDJ4
Lorena Lo Peña (PE) www.lorenalopena.blogspot.com
Nancy Gewölb (CH) www.nancygewolb.com
Omar Góngora (MX) www.omargongoraguzman.blogspot.com
Pancho López (MX) www.aspaceforliveart.org/?page=people&id=581
PERFORMANCES IN THE PUBLIC SPHERE
Latitud (φ). In English Latitude (in German “geographische Breite”) is a geographical coordinate that specifies the North-South position of a point on the Earth’s surface. The latitude points 32°43’06”N (North) and 55°58’44”S (South) refer to the highest (“northest”) part of Mexico to the lowest (“southest”) part of Chile, which means from Bravo River to Cape Horn.
On May 6th a group of performers, who have come specifically from Mexico, Colombia, Peru, Chile, Cuba and Brazil to present new work at MPA-B 2014, will take part in a series of site-specific performances at various outdoor locations in Berlin (check www.flavors.me/latitud_32n55s for further details). Their work will function as a detonator to stimulate audience interactions and interactivity, thus turning the viewers into active contributors to the development of their pieces. The performances will also show current positions in Latin America’s contemporary performance art scene. This cross-fertilisation of contexts and meanings will be formed, changed and re-assembled according to these transnational encounters and exchanges. Through the site-specific works, the artists will try to ignite points of co-existence, thus showing that art can unite complete strangers via very simple dynamics.
Latitud 32°N/55°S explores notions, stereotypes and characteristics of “Latinness” and “Latin American Art”. Over the course of three days, Latitud 32°N/55°S will present the work of 11 performance artists who through site-specific performances, indoor actions and lectures expose the problem of setting standard definitions of art, art practice and context, according to the artists’ geographical and/or ethnic origin.
TIME: 13:30-21:00 (in 4 parts starting at 13:30, 15:00, 16:00 and 18:00)
WHERE: MPA-HUB, Holzmarktstraße 25, 10243
ENTRANCE: Suggested donation 4.50€
CURATED BY: Joël Verwimp & Teena Lange
A case study in performing abstraction, featuring works by Sarah Bal, Marc Bergson, Anna Ernst, Alexej Miroschnitshenko, Stella Pinson, Jens Presser, and Bohumil Rosendorf. Abstract art today is often seen as a disempowered category belonging to the past. It has lost its claims to utopian, ideological or spiritual content, and it has stopped identifying itself through the old antagonism with the figurative. Yet, formal abstract art remains noticeably alive and popular from the museum over to the gallery to the artist-run space. Does this mean it has become harmless and generally accepted, a kind of omnipresent ornament? Or are today´s strategies of abstraction still capable of eliciting strong responses? Ludovik Vermeersch, a writer and visual artist based in Berlin, has invited seven young abstract painters to be involved in a research project that tackled this very issue: how can abstract painting today manage to “perform abstraction” rather than just refer to it as to a historical fait accompli? A series of exhibitions was organised, in which the interactions of viewers with the artworks and the artists were recorded on video, in order to investigate their response to different approaches to abstraction – from those embracing the challenge to operate within the ornamental to those trying to transcend it. The lecture performance presents some of the project’s findings and proposes a way of revalidating abstraction as a strategy in art production today. The video recordings will be used to substantiate the claim that, by considering narrative as a crucial ally, it becomes possible to enhance the “performativity” of abstract paintings.
Duration: approx. 80 minutes, followed by a discussion (in English) between the curators Joel Verwimp and Teena Lange and the audience.
ARTISTIC RESEARCH: FOUR APPROACHES. I/IV – DEM GLAUBEN
*PART ZERO: Starts at 13:30
A fat belly, a lean brain? Let’s investigate this expression and meet for a BRAIN BRUNCH in the MPA-Mensa and share a smoking introduction to the slippery road of artistic research, practice as research, research as practice, research through practice, art practice as research, performance as research, performative writing… This brunch will be in English, German, Latin and international food language.
*PART TWO: Starts at 15:00
COYOTE: THE BELIEF IN THE POWER OF THE INDIVIDUAL TO SOCIAL CHANGE // KOJOTE: DER GLAUBEN AN DIE KRAFT DES EINZELNEN ZUR GESELLSCHAFTLICHEN VERÄNDERUNG)
A close reading of a text on Joseph Beuys’s most famous performance, I Like America and America Likes Me, New York, May 1974 to mark its 40th anniversary. Written by Caroline Tisdall, this text is an attempt to capture the performance by Beuys in book form, published by Thames & Hudson in 2008. In reference to the original performance, we will put any potential meaning and valuation of the text at the mercy of the reader and every individual witness. The reading positions itself in stark contrast to the “objectivity” of sciences in order to discover how a text can function as a self-contained, self-referential aesthetic object. The reading will be held in English and is expected to last approximately 30 minutes.
*PART THREE: Starts at 16:00
PERFORMATIVITY AND THE FALLACY OF AMBIGUITY // PERFORMATIVITÄT UND TEUFELSKREIS IRRTÜM
Based on the premise that “belief” holds a central position within any performance art practice, we want to find out if this belief can be anything other than a hypothetical construction (abstraction). If the performance artist believes in the sensemaking experience of his/her action (creating a shared reality), and simultaneously holds his/her notion of belief as a pure hypothetical construction (abstraction), the performance (art) itself falls subject to the so called fallacy of ambiguity (Teufelskreis Irrtüm). This means that the artist is treating his/her hypothetical construction as a concrete thing – something which by definition an abstraction is not: it is merely an idea. The artist is thus confusing a model (abstract belief) with the real. The notion of the performative contradicts this argument and calls for a materialisation of belief. Here, the sensemaking experience of the artists’ action (realitätsbildenden Aspekt // constituent quality of all performance art) is to be found in the mind of the witness through a reflection of the ephemeral nature of the performance. Accordingly, the performance is determined by the receiving side. This notion turns any belief held by the artist into a profane and trivial pursuit. The question remains as to how the notion of belief (including the central position it holds for performance artists) should be understood. The talk will be held in German and is expected to last approximately 90 minutes.
PERFORMANCES AND SITE-SPECIFIC INTERVENTIONS
In the “Performative Labour-ism” project, sixteen artists from Germany, Great Britain, Greece and Iceland, are invited to develop performances and site-specific interventions examining the notions of Labour, Stage and Performance. The premises and public park of the “Centre for Art and Urbanistics” (ZK/U), form the basis for this on-going performative project which depicts productive embodiments in producing processes.
Starting point of the project is the body of a performer in a working, psychological and inhabited space. The intrinsic nature of bodies as a form of production (or vice versa) makes it difficult to standardise, reorganise or rationalise labour and therefore performative art. Furthermore, under the topics of rationalisation, acceleration and temporalisation of work, the human being and especially the body becomes a target of processes of optimisation, disciplining strategies and control. Under these parameters artists seem to have multiple identities and social functions. Do they perform when they work or do they work while performing? Is a working space a stage or is The Stage a labour itself?
Dísa Björnsdóttir www.bryndisbjorns.com
Eva Giannakopoulou www.evagiannakopoulou.com
Fotini Kalle www.fotinikalle.com
Effrosyni Kontogeorgou www.effrosyni.net
Sindri Leifsson www.sindrileifsson.com
Rilène Markopoulou www.rilene.com
Antigone Michalakopoulou www.antigonemihalakopoulou.blogspot.com
Yiannis Pappas www.yiannispappas.com
Z. Schmidt www.z-schmidt.com
Panos Sklavenitis www.panossklavenitis.com
Marc- Antoine Carcereri