TUESDAY, MAY 13
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Photo Credit: Carl Whetham
ALTERNATIVE METHODEN DER VERÖFFENTLICHUNG
A PRESENTATION OF FOUR FUNCTIONING MODELS FOR COLLECTING PERFORMANCE ART “IN PUBLIC” // ALTERNATIVE METHODEN DER VERÖFFENTLICHUNG
1.- ‘The Maria de Robe Collection’ at the Association for Performance Art Berlin in collaboration with the Allied Museum. A talk with the museum director Dr. Gundula Bavendamm about connecting a performative art praxis with a public museum collection. Evoking what I call an “ephemeral re-enclosure” of the museum’s collection through the presentness of a performance artist.
2.- ‘Auction Achtung’ at ebay in association with Performer Stammtisch. A skype conversation with the artist Adam Young about his brokering service for performance artists to sell their work on an open and global market.
3.- Some objects perform better than others at MPA-B in association with Grüntaler9. A performance by Joel Verwimp on the institutionalisation of revolution, The performance was sold at auction to Florian Feigl during the opening of the HUB on May 2nd.
4.- Transnational Art Commons at the Bern Biennale in association with Dampfzentrale. A debate about the social renegotiation of the individual and the ownership of resources in te context of contemporary art production.
Photo Credit: NGinPA
DEALING WITH THE NORMATIVE GAZE IN PERFORMANCE ART
NGinPA is a new Berlin-based collective dealing with the “Normative Gaze” in Performance Art. Specifically exploring gendered notions of both performance and perception in art, the group’s diverse experiences and opinions come together to put forth new and challenging ideas.
This Open discussion will be facilitated by Melanie Jame Wolf.
NGinPA + Melanie Jame Wolf
PERFORMANCE, LECTURE, ACTIONS
The Dodici Apostoli (12 Apostles), a collective of outellectual daydreaming artivists and society dropouts, presents a full evening of impulsive and surprising performances. Under the theme “prejudice”, a uni-vocal vision of reality, Dodici will focus on its unknown facets and latent contradictions. Deconstruction will be seen as an initiation, the will to break free critically, and to position oneself outside the global systems, contexts and discourses. Question: how? Answer: Humor!
Born in the 16th century in Italy, Commedia dell’Arte is Dodici’s inspiration to mock social prejudices, and people and contexts’ shallow identifications. The genre hyperbolizes recitation and improvisation, using masks and multiple languages. Improvisation makes sure that any preconception is unhinged. Masks allow to manipulate circumstances – a symbolism going back to times immemorial – a communication crossroads connecting multiple worlds. Juggling languages is a greenlight for diversity. Clashing or melodic, languages are a choir of voices in parallel and perpendicular realities – a tragicomic infinite dance of possible worlds fragments.
The Dodici Apostoli will be searching for the life’s true show, not an interpretation by actors, directors, screenwriters and choreographers. The Joker (Trixter) in Commedia dell’Arte is simply being a true self, aiming to play no one else but oneself in a real, non imaginary context in the present moment. The Dodici will play in a particular place and time, connecting each other into our daily modus vivendi and operandi alike. Their performance will be about the One Life, unconfined by limits of the Spectacle’s virtual dimension. The true art-comedian never ACTS and, paradoxically, Dodici will allow the performance to perform itself, channelling and sending energy flows down their natural streams. Urban and daily locations, minds and imaginations will experience non-violent invasions by unexpected presences, silhouettes and spirits. Like acrobats and tightrope walkers beneath the dome of the modern world’s circus. In its lovely (lonely?) light’s lime.
Group DODICI and the performers from Teilnahmerei, Studio Macchinette Rome teilnahmerei.noblogs.org