Blogs

After nearly a year of preparatory work, we’re thrilled to announce the launch of one of our most ambitious initiatives ever: Creative Time Reports, a multimedia website dedicated to artists’ analysis of contemporary social issues and news from around the world. Founded on the belief that artists’ voices are critical elements of public discourse, Creative Time Reports enables artists to disseminate original reporting and analysis in a variety of formats. The site also encourages public feedback and fosters ongoing dialogue across a variety of social-media platforms.

Creative Time Reports welcomes artist contributors from all disciplines, including both the visual and performing arts. Find current contributions from the likes of British multimedia artist Liam Gillick, writing on global finance from the Basque Country; artist Pedro Reyes, reporting on elections in Mexico; Haitian writer Jean-Euphèle Milcé in Port-au-Prince, documenting the political, material, and emotional aftermath of the catastrophic earthquake of 2010; Iranian-American comedian, actress, writer, and filmmaker Negin Farsad, who has produced a video comprising interviews outside the United Nations, during the General Assembly; and many others.

Today, the Internet is our global town square. As such, Creative Time Reports can provide an international platform for artists’ ideas about the issues that matter to them, and initiate broad-based dialogue. In addition to hosting original reports and timely updates about a wide range of issues, the site will encourage your feedback and foster ongoing dialogue, and will incorporate live feeds from Twitter (@artistsreport) and Facebook. Creative Time Reports will best succeed with your smart, thought-provoking responses, whether written in the comments section on the website itself, or posted on other social-media platforms.

Creative Time is grateful to the Rockefeller Foundation's New York City Cultural Innovation Fund for its support of Creative Time Reports.

This afternoon at 2PM EST, we’ll be co-hosting a live panel with Artlog related to the launch of Creative Time Reports. You don’t have to be on Twitter to watch the live conversation, which will include panelists from SFMOMA, Art21, and the Whitney Museum, as well as artist Hank Willis Thomas and the creators of Creative Time Reports. Just click this link at 2PM, or if you are on Twitter, join in using the hashtag #CTRL.

Be sure to check creativetimereports.org regularly for stories, interviews, narrative articles, podcasts, video, photo essays and more from artists and cultural producers from around the world, and join the conversation today!

WWW.CREATIVETIMEREPORTS.ORG

I just spent 4 rewarding hours in the company of Peter Kubelka, courtesy of the filmmaker Martina Kudlacek. He is a Viennese man absolutely sold on his own ideas, so eager to share them, and so charmed by their endless possibilities, that we must dispend any skepticism. Martina Kudlacek, who made the 2002 documentary IN THE MIRROR OF MAYA DEREN, begins her film with Kubelka with a nervous hand. The camera movement simultaneously makes us feel the vulnerable presence of the listener and illustrates Kubelka’s comment about our restless eyes. After that wary start, we settle in for an extended visit with Kudelka, a "metric artist," musician, gourmand, collector of objects, a visual artist with the spirit of an adventurous scientist.

Born in 1934 in Vienna, Kubelka did not see any movies, except propaganda films, until his late teens. He discovered the cinema essentials - silence/sound, black/white - as a child when he caught a promotion film about a new pudding. He had followed a herd of women into a dark hushed room with all eyes focused on an enormous white screen. It was an ecstatic experience for him that seemed to shape his life.  Cooking loomed large in his family. The process of choosing, cutting, stirring the elements, and staying alert to minute changes is akin to filmmaking. As a young filmmaker who came to NYC to join Jonas Mekas and other experimental filmmakers in the opening of Anthology Film Archives, he convinced Channel 13 to give him a cooking show in 1970,  an ingenious platform for a downtown artist. “When the butter starts to hiss, it’s protesting,” he reveals when we see him cooking and then eating his breaded veal at the end of Kudlacek's documentary.

“Everything is a dance, everything dances,” says this legend among the Avant Gardists. But, he adds, film does not move. Our mind sees the motion between 2 static images. He points out the importance of recognizing repetition and metaphor. “Metaphor is so important in all the arts.”

He won’t have his films shown in a digital form. Too much is lost. For his first commission for a restaurant in Vienna, he scandolously shot only 2 minutes of film – all he could afford. With 2 dancers, and only 2 lightbulbs, he created their silhouette in black and white,  added some red for accent, the beer logo. A style was born.

He demonstrates how his arm is the length of 24 frames, 1 second of film, an easy way to measure/cut his films which must always look well nailed as a unit on the wall.

For more on this fascinating artist, see his installation of MOMUMENT in NY Film Festival, and http://www.sixpackfilm.com/en/catalogue/show/1957

CENTER FOR CONTEMPORARY AND DIGITAL PERFORMANCE

Brunel University

PERFORMANCE RESEARCH SEMINAR 

http://people.brunel.ac.uk/dap/boiler13.html

autumn – winter 2012-13

Wednesday,  October 17, 2012

Performance Research Seminar

GB048    Drama Studio 16:oo-17:30 pm

Scott deLahunta   

"Choreographic Objects: artefacts and traces of physical intelligence"

Wednesday,  November 7, 2012

Performance Research Seminar

GB048    Drama Studio 16:oo-17:30 pm

Sue Broadhurst

"'Einstein on the Beach': A Study in Temporality"

Wednesday,  November 21, 2012

Research  Performance Seminar

GB048      Drama Studio 16:oo-17:30 pm

Nathalie Soelmark

"Biotechnological intervention in the body"

Wednesday, December 5, 2012

Research Performance Seminar

GB048   Drama Studio 16:oo-17:30 pm

Jayne Wilton

"Drawing Breath"

Wednesday,  January 30, 2013

Research  Performance Seminar

GB048     Drama Studio 16:oo-17:30 pm

Daniel Ploeger

"Thinking Critical/Looking Sexy"

Wednesday,  February 13, 2013

Research  Performance Seminar

GB048     Drama Studio 16:oo-17:30 pm

Robin Nelson, Alyson Campbell, Stelarc

Roundtable on Practice-led Research

Wednesday, February 27, 2013

Research  Performance Seminar

GB048     Drama Studio 16:oo-17:30 pm

Yann Marussich

Bain Brisé 

Wednesday, March 13, 2013

Research  Performance Seminar

GB048     Drama Studio 16:oo-17:30 pm

Ruth Catlow (Furtherfield) / Irini Papadimitriou (V & A)

Curating Performance and New Media Art

ALL THESE LECTURES WILL BE STREAMED LIVE ON DANCE-TECH.TV LIVE AND WILL BE DISCUSSED ONLINE ON A DEDICATED SEMINAR BLOG BY JOHANNES BIRINGER ON META-ACADEMY.ORG

STAY TUNED!

Dee Reynolds and Matthew Reason , Kinesthetic Empathy in Creative and Cultural Contexts (Intellect, 2012)

A key interdisciplinary concept in our understanding of social interaction across creative and cultural practices, kinesthetic empathy describes the ability to experience empathy merely by observing the movements of another human being. Encouraging readers to sidestep the methodological and disciplinary boundaries associated with the arts and sciences, Kinesthetic Empathy in Creative and Cultural Practices offers innovative and critical perspectives on topics ranging from art to sport, film to physical therapy.

@ Intellect’s website http://bit.ly/PcpPbk

@University of Chicago’s website http://bit.ly/NBA3m6

@ Amazon http://amzn.to/MfzWex

Acknowledgements

Foreword

     Amelia Jones

Introduction

     Dee Reynolds and Matthew Reason

Part I: Mirroring Movements: Empathy and Social Interactions

Introduction

     Dee Reynolds

1. Knowing Me, Knowing You: Autism, Kinesthetic Empathy and Applied Performance

     Nicola Shaughnessy

2. Kinesthetic Empathy and Movement Metaphor in Dance Movement Psychotherapy

     Bonnie Meekums

3. Affective Responses to Everyday Actions

     Amy E. Hayes and Steven P. Tipper

Part II: Kinesthetic Engagement: Embodied Responses and Intersubjectivity

Introduction

     Dee Reynolds

4. Cinematic Empathy: Spectator Involvement in the Film Experience

     Adriano D'Aloia

5. Musical Group Interaction, Intersubjectivity and Merged Subjectivity

     Tal-Chen Rabinowitch, Ian Cross and Pamela Burnard

6. Kinesthetic Empathy and the Dance's Body: From Emotion to Affect

     Dee Reynolds

Part III: Kinesthetic Impact: Performance and Embodied Engagement

Introduction

     Matthew Reason

7. Kinesthetic Empathy in Charlie Chaplin's Silent Films

     Guillemette Bolens

8. Effort and Empathy: Engaging with Film Performance

     Lucy Fife Donaldson

9. Breaking the Distance: Empathy and Ethical Awareness in Performance

     Rose Parekh-Gaihede

Part IV: Artistic Enquiries: Kinesthetic Empathy and Practice-Based Research

Introduction

     Matthew Reason

10. Re-Thinking Stillness: Empathetic Experiences of Stillness in Performance and Sculpture

     Victoria Gray

11. Empathy and Exchange: Audience Experiences of Scenography

     Joslin McKinney

12. Photography and the Representation of Kinesthetic Empathy

     Matthew Reason, with photographs by Chris Nash

Part V: Technological Practices: Kinesthetic Empathy in Virtual and Interactive Environments

Introduction

     Dee Reynolds

13. The Poetics of Motion Capture and Visualisation Techniques: The Differences between Watching Real and Virtual Dancing Bodies

     Sarah Whatley

14. Interactive Multimedia Performance and the Audience's Experience of Kinesthetic Empathy

     Brian Knoth

15. Kinesthetic Empathy Interaction: Exploring the Concept of Psychomotor Abilities and Kinesthetic Empathy in Designing Interactive Sports Equipment

     Maiken Hillerup Fogtmann

Conclusion

     Dee Reynolds and Matthew Reason

Notes on Contributors

Index

http://www.parallax.cz/en/

OPEN CALL FOR SUBMISSIONS OF FILMS FOR PARALLAX 2012! SUBMIT YOUR WORK!

We're just back from Sofia where we presentet the Entropic Institute (check out the video documentary below) and tomorrow we'll be heading to Stuttgart to install the Emergence Room in the exhbition project "Acts of Voicing"... hope to see you there!

What does Jason Akira Somma’s installation “Phosphene Variations”  recently on exhibit at Soho’s Location One have in common with Snoop Dogg’s performance with Tupac this last April in Coachella? Both are take-offs of Pepper’s Ghost, a centuries old illusion popularized by John Henry Pepper in 1862 in which an image is bounced off the floor onto an invisible screen.

Beyond that, the similarity ends. The music producer Dr. Dre sprinkled his gold dust on the California digital effects company Digital Domain to make possible Snoop Dogg’s appearance with the prolific rapper who was killed in 1995.  The acclaimed event added little to an old trick other than context, where as Jason Akira Somma created a new chapter for dance presentation and preservation. Supported in part by the Rolex Mentor and Protégé Arts Initiative, his liquid wall created with a start-up company, a horizontal flow of mist in which images can dance, is, as Le Figaro wrote, “a true revolution…stupefying poetry, humanity and invention.”

When he was ten, Somma saw a floating head, engineered with the method behind Pepper’s Ghost, in a “haunted house.” Little did he know that encounter would determine the direction of his artistic life. He re-created the effect while a dance student at Virginia Commonwealth University, which has a fertile dance film program led by Martha Curtis. After much back and forthing between dance and visual arts, Somma realized dance is a visual art. His approach gelled; his career zoomed, winning him accolades in both US and Europe and the coveted Rolex Mentorship with Dutch choreographer Jiri Kylian.

Somma has the instincts of a magician inclined to play with dual realities and those of an engineer who solves problems.  Somma  used 5 infra-red cameras for his multi-media show commissioned by Lyon Opera Ballet. Why infra-red, I asked him. He replied, "I like to incorporate science into my work that exposes other realities around us that we (can't)  perceive. The one in which our naked eye can see and the one in which technology can see. I want to remind the world of all the possibilities and things that surround us at all points and time."  

Dance legends Mikhail Baryshnikov, Carmen DeLavallade, Robert Wilson, Bill Shannon, and Jiri Kylian, among others, appear in the liquid walls, moving in a space no wider than the wings of your arms. 

Imagine the chance to prepare your own ghost. Who can resist that? Sporting a waxed moustache, Somma (seen levitating left) set up with “Phosphene Variations” a vertical playground in which the viewer can reach out to touch a ghost who vanishes, only to be immediately replaced by another.

Location One, 26 Green Street, NYC presented “Phosphene Variations” September 12-October 3, 2012.

Closed earlier than schedule due to technical difficulties.

Soledad Barrios dares to touch us, to appeal to our empathy, and evoke an image of courage despite impossible circumstances. This ‪Madrileña‬, acclaimed by Alastair Macauley to be one of the greatest dancers of any genre, seems now to transcend dance all together. She commands our attention, emotionally and spiritually. She could be singing an aria or standing for a painter wrestling with a portrait of dignity in the face of death. 

When I first saw Soledad perform, Noche Flamenca was still an idea yet to be conceived. She had come to perform in Santa Fe, New Mexico at the invitation of Martin Santangelo, her current husband, father of her two children, and artistic director of Noche Flamenca. Martin was performing then for Maria Benitez Company, along with Alejandro Granados, a dancer from a family of flamencos, known for his relaxed, eccentric wit who is performing this week in Noche Flamenca. Almost twenty years ago now, Soledad was fast and feisty. Her fury was infectious. It was all I could do to keep from challenging her to a fight back-stage. In-your-face, raw, and scrappy, she had an erotic edge. 

Perhaps Soledad was just picking up the trend in flamenco at that time, which was to go as fast and punk as possible. But over time, she has sanded off those rough edges, matured her intense dance with elegance and and restraint. For a time, she moved with an archness that was playful. Slowly her presence became her masterpiece, more than her steps or style, her look, as precise as those are. Now a shade of raw is re-emerging. Miraculously, her performance of the flamenco "palo" Solea seems to bypass a personal statement to speak for anyone who endures pain, alone.

Never having witnessed Sarah Bernhardt, I can't compare Soledad to that legend but I can bow to a choreography and presence that dares to tackle tragedy. The overlapping of the singers at the beginning of her solo continues to haunt me with its poignancy. I wonder what Pina Bausch would have thought of her performance, what notes she would give her or further challenges.

Noche Flamenca continues at the Joyce Theater through Sunday, September 30th.

The arts are coming to you. Merián Soto 's SoMoS is part of a growing international movement to move major performing arts events out of the theater and into the neighborhoods where people live. SoMoS goes one further by transforming a city-block sized parking lot, the ultimate in urban deadspace, into a vibrant and immersive performing arts experience.

This exploration of the seasons and our physical relationship to the natural world works on both the gigantic and intimate scales. There will be large geodesic tents within which audiences can sit and view dancers and be surrounded by quadraphonic scoundscapes of nature in extreme close up, exposing the minute details of the wind through trees, water rushing down a creek. Large projections of nature and of the performers shadows will be cast on the inside and outside of the domes as well as on the walls of buildings facing the parking lot. Dancers will also be outside performing branch dances.

Bringing this large-scale carnival of nature images, sounds, and movement to the parking lot at 5th and Huntingdon Streets is not without its challenges. "It involves careful planning. Equipment and materials have to be purchased, rented or borrowed, and stored. In terms of video and sound we need 14 projectors, 4 laptops, 20 speakers, etc. We are building a pipe and drape wall for projection," explains choreographer Merián Soto. "And we have to practice. Practicing in the parking lot is grueling. It's dirty and noisy and the cement is rough and hard. In the summer it was excessively hot, now the wind makes it cold. And at the same time it's intriguing to think what the event will be like. It's beautiful to see such an expanse of sky, and to connect with the neighbors when we're out there."

The branch dances are both intense and meditative, inviting audiences to become intimate with the performers. As dancer-collaborator Olive Prince describes,  "It is like taking a walk in the woods where you can take the time to stop and watch the slow evolution of the leaves moving in the wind or you can wander off the path to what interests you." She goes on to explain, "The audience has the opportunity to wander through a world that presents a sensory experience on nature.  You will see dancers moving with massive branches, tents that capture videos of each season, bodies moving in response to the environment that is created, and leading to an overall experience that the audience can immerse themselves in."    

SoMoS is presented by Taller Puertorriqueño's series Café Under the Stars: Spotlighting the Arts in El Barrio. Taller is using the parking lot, which will be the site of Taller's future home. Taller's director Carmen Febo explains, "Taller is in the middle of a capital project to build a new state of the art cultural center in that location. We felt that using the space to bring art to this community would plant the seeds for the new Taller as a cultural hub, as a place where people gather to celebrate the art of our community."

The arts are coming to you. Merián Soto 's SoMoS is part of a growing international movement to move major performing arts events out of the theater and into the neighborhoods where people live. SoMoS goes one further by transforming a city-block sized parking lot, the ultimate in urban deadspace, into a vibrant and immersive performing arts experience.

This exploration of the seasons and our physical relationship to the natural world works on both the gigantic and intimate scales. There will be large geodesic tents within which audiences can sit and view dancers and be surrounded by quadraphonic scoundscapes of nature in extreme close up, exposing the minute details of the wind through trees, water rushing down a creek. Large projections of nature and of the performers shadows will be cast on the inside and outside of the domes as well as on the walls of buildings facing the parking lot. Dancers will also be outside performing branch dances.Bringing this large-scale carnival of nature images, sounds, and movement to the parking lot at 5th and Huntingdon Streets is not without its challenges. "It involves careful planning. Equipment and materials have to be purchased, rented or borrowed, and stored. In terms of video and sound we need 14 projectors, 4 laptops, 20 speakers, etc. We are building a pipe and drape wall for projection," explains choreographer Merián Soto. "And we have to practice. Practicing in the parking lot is grueling. It's dirty and noisy and the cement is rough and hard. In the summer it was excessively hot, now the wind makes it cold. And at the same time it's intriguing to think what the event will be like. It's beautiful to see such an expanse of sky, and to connect with the neighbors when we're out there."

The branch dances are both intense and meditative, inviting audiences to become intimate with the performers. As dancer-collaborator Olive Prince describes,  "It is like taking a walk in the woods where you can take the time to stop and watch the slow evolution of the leaves moving in the wind or you can wander off the path to what interests you." She goes on to explain, "The audience has the opportunity to wander through a world that presents a sensory experience on nature.  You will see dancers moving with massive branches, tents that capture videos of each season, bodies moving in response to the environment that is created, and leading to an overall experience that the audience can immerse themselves in."    

SoMoS is presented by Taller Puertorriqueño's series Café Under the Stars: Spotlighting the Arts in El Barrio. Taller is using the parking lot, which will be the site of Taller's future home. Taller's director Carmen Febo explains, "Taller is in the middle of a capital project to build a new state of the art cultural center in that location. We felt that using the space to bring art to this community would plant the seeds for the new Taller as a cultural hub, as a place where people gather to celebrate the art of our community."

FOR PHOTOS AND MORE INFORMATION PLEASE CONTACT Michael T. Roberts, Project Manager    Email: mtjr12281@gmail.com

INTERVIEWS ABOUT SOMOS WITH MERIAN SOTO AND HER COLLABORATORS CAN BE FOUND On The BranchDances Blog: branchdances.blogspot.com

Video vortex with contemporary exploration on the performance of motion and embodiment
Lecture discussion by Marlon Barrios Solano as a part of a research residency at ACCAD

http://accad.osu.edu/

Preopared for the Intermedia class lead by Norah Zuniga-Shaw
September

15th to 30th September 2012

NOTE:  you can watch  it in YouTube here

https://www.youtube.com/playlist?list=PLBCE930559C85C7FC

EMERGING CLOUD OF WORDS

Collaborative tagging of the lecture.

Participants created collaboratively a list of words that were emerging from their experience of the presentation; sampling words, sensations, ideas, associations, etc.

Created with online software:

http://www.wordle.net/

The the size of the font represents  the frequency of the words. Bigger font = more frequent.

http://youtu.be/vHVOuOXgsRY

CALL FOR APPLICATIONS

DanceDigital is pleased to announce a new artist development scheme that will be run in partnership with the University of Bedfordshire.

DanceDigital is currently looking to work with a cohort of artists in the development of a festival that will be presented in partnership with the University of Bedfordshire in April 2014. DanceDigital will recruit new Associate Artists and new Catalyst Artists, who will be given opportunity to develop new work through a support scheme that includes mentoring by DanceDigital Artistic Fellows, space in kind, a cash contribution and presentation in an international festival event, which marks culmination of the scheme.

DD2012Call for Applications

ArtistApplicationForm2012

Digital technologies have created new, and now accepted, modes of production and have repositioned dance performance as a multi-sited, digitally mediated art form. Investigation of our current theme, Mobilities offers opportunity to consider how digital technologies transform experiences of the mobile in new choreographies that may be located on stage, online or on the ground.  We are interested in the distinct performance vocabularies and innovative modes of participation that are enabled by digitally embedded choreographic processes.  We are also interested in the mobility of collaborations across disciplines that bring together the expertise, vision and innovation of artists, technologists, scientists and users in the creation of new art works.

If you are interested in developing work that moves audiences in new ways and creates touching human experiences by harnessing choreographic practice and digital innovation, then we would like to hear from you.  We are particularly interested in proposals that address the interactivity of performers/audience and technology, and from those who are interested in developing new high quality performance work through interactive methods.

Some Bursaries have now become available for this degree so we are re-advertising

**There are still some available places on Brunel's MA in Contemporary Performance Making'**

The MA in Contemporary Performance Making at Brunel University is a combination of taught and project work; it is 70% practical with a strong underpinning of training in methodologies and contextualisation, and includes a placement with an artist or organisation.

It is taught by a world-class staff of practitioners and academics.

The degree covers a range of specialisations in performance, including Directing, Solo Performance, Writing for Performance, and Digital Performance, and student-initiated work. Recent degree shows have also included film, installation, object theatre, dance and other time-based media.

The MA can be studied full-time (one year) or part-time (2 years). Fiona Templeton Convenor, MA in Contemporary Performance Making School of Arts Brunel University UB8 3PH email: fiona.templeton @brunel.ac.uk or email: susan.broadhurst@brunel.ac.uk (Temporary MA Convenor for term 1 2012-13)

August 27, 2012—Columbus, OH—
Palissimo, an adventuresome dance theater company based in New York, will mount all sections of its enigmatic and atmospheric The Painted Bird trilogy as
a complete sequence for the first time, on two different stages. Co-commissioned by the Wexner Center, The Painted Bird trilogy’s world premiere is supported by a Wexner Center Artist Residency Award. Performance dates are September 12, 13, and 16, 2012.
Choreographed by Czech-born artistic director Pavel Zu!tiak, The Painted Bird trilogy is composed of three multimedia works (with live music by composer Christian Frederickson and video) made between 2010 and 2012, inspired by Jerzy Kosi!ski’s novel of the same name. Zu!tiak's ambitious, emotionally charged project excavates the tale's themes—identity, otherness, displacement, and transformation—in three uniquely staged performance events. Community volunteers will participate in one section of the trilogy.
The Painted Bird trilogy makes use of the two flexible and intimate venues at the

Wexner Center: the Performance Space and the Black Box on Mershon Stage, set up in novel configurations. Audience members can choose to immerse themselves in a pairing of two sections of the trilogy, or come on the final day to experience all three parts, with an optional box supper available from the Heirloom café at an additional charge of $10. (Meals must be ordered in advance.)

Notes Charles Helm, director of performing arts for the Wexner Center, “Being able to match innovative artists’ needs with our range of resources is at the heart of our creative residency program’s mission. For Palissimo, with its expanded concepts in dance theater for The Painted Bird trilogy, we are able to make full use of our two venues set up in novel ways with different seating configurations or as a site for performance/installation. Working out the technical logistics and ways that this can be mapped out for both performers and audiences will greatly assist the company as they perform the three-part program on tour. Pavel Zu!tiak and his collaborators in Palissimo are among those who are committed to remaking the dance experience for today, and it’s been a pleasure to work in partnership with them to realize this project.”

All three parts will feature live music composed by Frederickson, known to Wexner Center audiences as a former member of the acclaimed chamber rock band Rachel’s; Frederickson and other musicians will perform live music in each of the three sections. Palissimo is dedicating the premiere of The Painted Bird trilogy to the memory of Jason Noble, another former member of Rachel’s who performed regularly with the company, but who recently passed away after a long battle with a rare form of cancer.

The first section, Bastard, draws from Kosi!ski’s novel, in which a young boy making his way through war-time Eastern Europe watches as a brilliantly painted bird is killed by its own flock, which mistakes it for an imposter. Performed by the award-winning Slovak dancer Jaroslav Vi"arsk", Bastard was called “searing” by the New York Times. Local volunteers, enlisted from a variety of sources, including the Wexner Center usher corps and volunteer docent program, as well as students in the Departments of Dance and Theater at Ohio State, perform in this first section. More volunteer dancers—particularly men—are still needed for the production. Rehearsals are scheduled on Sunday, September 9 from 1–6 pm and Monday, September 10, from 7–10 pm. Call time for the September 12 performance is 5:30 pm; call time for the Sunday, September 16 performance is 1:30 pm. Interested volunteers can contact Sarah Swinford at sswinford@wexarts.org, or by calling (614) 292-6190.

The second section, Amidst, is a performance/installation work that combines dance with visual art and video. The audience has the opportunity to move through an open space that includes a trio of live performers, as well as animated projections

which explore the juxtaposition of ideas such as past and present, real and virtual, memory and disappearance.

In the third section, Strange Cargo, co-commissioned by the Wexner Center, Zu!tiak has collaborated with Frederickson and fellow musician Ryan Rumery to tackle themes of refuge and home with an ensemble of four performers.
Observes the New York Times, “There is the sense that, with The Painted Bird, he [Zu!tiak] has found his material, and will be mining it for a long time to come.”

More information on The Painted Bird trilogy: http://www.thepaintedbird.org/main.html

beinghuman art residencies 2012

beinghuman runs art residencies in the beinghuman warehouse & abroad.

In 2012 we are working with Double Grammy Nominated, 1 Giant Leap, Granta Magazine’s Michael Salu & Wired’s Ben Hammersley.

We ran a week long residency in Galicia, Spain with artists Jeannette Ginslov, Nye Perry, Adrian Gierakowski, Maddi Boyd and Jane Shaw. We also run a regular night in Trangallan, Hackney, on summer break. Jeanette Ginslov, Nye Perry, Adrian Gierakowski,Maddi Boyd & Jane Shaw.

kathmandu art residency 2012

beinghuman will also be taking a very special, selected group of people on a  week long art & spiritual pilgrimage to Kathmandu during the International Art Festival: 21-27 November 2012

beinghuman director, artist Gaynor O’Flynn is curating the British Chapter of The Kathmandu International Art Festival 2012.

The Kathmandu International Arts Festival runs from November to December 2012 & features more than 100 artists from 75 countries.

kathmandu international art festival 2012

Turner Prize Winner, Richard Long has kindly agreed to patron the  event.  

Artist & Sculptor David Nash OBE, RA will also be exhibiting. Legendary music & arts photographer Kevin Cummins will be creating a site specific work during the festival. 

Gaynor will also be creating a site specific performance & installation on Boudhanath Stupa on the theme of this year's festival "Mind, Body, Earth”.

the journey of a lifetime

Participants will stay in a beautiful guest house run by a Tibetan monastery or a 5 star hotel. Learn about the culture of Tibetan Buddhism & the Sanskrit & Hindu roots of this sacred valley. 

With unique access to the artists, the rehearsals, festival talks, dinners & private views as well as visits to some of the hidden sacred sites of the valley.

The participants will experience the journey of a lifetime, forging artistic & spiritual connections to this unique, special part of the world. 

how to apply

beinghuman has been travelling to this part of the world for over 20 years & has the knowledge to introduce you to the finest Kathmandu can offer:

world heritage sites, galleries, sacred shrines, special people, you will be free to join in or explore alone, as you wish. 

For online info: http://www.beinghuman.com/residency__.html

If you are interested in joining us please send an initial expression of interest to Jeannette Ginslov

jeannette.ginslov@gmail.com

Tel: +45 26990363 From October 2012: +27 (0)73 373 9235

Tell us more about you, your loves & why you would like to come.

COSTS

The residency is going to be £1,200 plus VAT for a 7 day residency: 21-27 November 2012

Participants are responsible to get themselves to Nepal all their own airfares & taxis to & from airports etc, once there we cover bed, breakfast & eve meal & transportation to all official events during the residency. Included in the fee for thew residency.

What else do we provide for the fee:

Networking and future collaboration opportunities

A chance to work on a project with an outcome early on in 2013 -

Unique access to British artists

Unique access to private views, lectures, parties during KIAF

Opportunity to observe British artists at work during British Council masterclasses 

Opportunity to observe British artists at work during rehearsal process.

Unique networking opportunities with over 100 international artists.

Series of location trips to the cultural & spiritual highlights of the Kathmandu Valley.

Accommodation in a Tibetan monastery, don't worry beautiful cotton sheets, garden, hot showers BUT unique access to this ancient spiritual tradition.

VIP access to the final show on November 27th

Participants are responsible for any alcohol purchases

Plenty of time for self exploration of this incredible city

© 2012 beinghuman Ltd All Rights Reserved - Registered in England & Wales. 

Registered Number: 02827534 - Registered Address: beinghuman warehouse, 37 Lower Keyford, Somerset, BA11 4AR, UK.