APODIO is a GNU/Linux platform containing audio, text-friendly, 3D, Streaming, graphic, Live Coding and video tools. It can be used as a liveDVD or be installed on a partition of your hard disk (on any PC 32bits to Mac Intel).
APODIO is a GNU/GPL project, a part of the GNU/Linux Ubuntu family:
APODIO uses a well known system operating the GNOME desktop.
APODIO can easily and quickly be installed, as a whole, coherent, pre-set and instantly ready system on your computer, rather than a ramshackle combination of packages, And what you see as you use the LiveDVD is also what you get after the installation.
Les Laboratoires d'Aubervilliers are a tool dedicated to artistic research. They intend to gather the necessary conditions for projects that do not fit pre-existing systems of artistic and cultural production. Their organization and structure, as well as the modalities of residency (such as duration of stay and budget) adapt themselves to the hosted proposals. These proposals allow to renew and question existing modalities of production, as well as their resulting terms of work and address. They belong to all artistic backgrounds. The objects and forms of research do not necessarily fit the usual practices or disciplines the initiating artists may be distinguished for.
Research projects both address the audience through the forms they produce and through invitations to take part in their processes. These participations lead to question the collective dimension of a research, i.e: the nature of shared knowledge and practices, and the way in which this activity organizes itself. These participants are volunteers, and most of them live in or regularly come to Aubervilliers. Generally, researches are publicized through the Journal des Laboratoires, which exists under three free complementary forms. The paper edition is distributed among a network of French and European collaborators. Public openings are occasionally organized at 8 pm (5 pm on Sundays) and take different forms: performances, projections, lectures, concerts, meals, etc. The archive includes the website www.leslaboratoires.org, reference books, along with the documentation of previous projects since 2001, available for consultation. Projects hosted by Les Laboratoires d’Aubervilliers may involve cultural, social or scientific structures and institutions, either locally, nationally or internationally committed, as well as structures of distribution and co-production.
Also, les Laboratoires d’Aubervilliers regularly exchange with several European structures: artists, activists or curators collectives, magazines, festivals, mostly self-organized art spaces, schools, etc. They share an interest for the development of alternative approaches to knowledge and practice sharing on a local level, which lead to an ongoing criticism and renewal of what is at stake in artistic research.
Grégory Castéra, Alice Chauchat, Nataša Petrešin-Bachelez
Contemporary Art and New Media: Towards a Hybrid Discourse? Art Basel Conversation, 2010 Download or View video with Nicolas Bourriaud, Michael Grey, Peter Weibel, and Ed Shanken (36′)
Verdensteatret And All the Question Marks Started to Sing
Thursday – Saturday, February 24 - 26, at 7:30pm; and Sunday, February 27 at 5pm. Dance Theater Workshop 219 West 19th Street, NYC
And All the Question Marks Started to Sing is the opening event of FuturePerfect 2011, a new performance, media, art & technology initiative in New York City. Produced in partnership with leading national and international cultural institutions, FuturePerfect highlights new hybrid performance practices, media forms and artistic ideas that emerge as digital technologies and other non-human systems become increasingly inseparable from contemporary culture. Wayne Ashley is FuturePerfect’s Founding Artistic Director.
Posted by MoveStream on February 14, 2011 at 10:10am
Here are some ideas for selection criteria that were developed by AFDA (South African School of Motion Picture), and used in student film evaluations. I have developed them further for use in Screendance evaluations. The 60secondsdance.dk selection committee will also be using them to evaluate and select the top 10, the overall winner and the runner up for 60seconds.
Perhaps some could be adopted and/or amended and used by selection committees.
So far the screendance maker has no means to view any criteria. Can we not publish these online each time there is a call?
60secondsdance.dk
Criteria for judging dance videos/films 2011
Theme: sted/place
The most important criteria: creativity and originality, amplifying the intention, the choreography of movement, adaptation of movement to the camera, the movement of the camera, the rhythm of the edit, the narrative – linear or poetic, the location, costume, objects, set, overall aesthetic “look and feel”, sounds and music used to amplify the notion of “place” or “sted”. We will look out for how “place” or “sted” is translated with kineasthetic and visceral impact, immediately translated and understood by the viewer. We will also take into consideration if the screendance maker has fulfilled all the competition rules and requirements.
Here are some ideas for selection criteria that were developed by AFDA (South African School of Motion Picture), and used in student film evaluations. I have developed them further for use in Screendance evaluations. The 60secondsdance.dk selection committee will also be using them to evaluate and select the top 10, the overall winner and the runner up for 60seconds.
Perhaps some could be adopted and/or amended and used by selection committees.
So far the screendance maker has no means to view any criteria. Can we not publish these online each time there is a call?
60secondsdance.dk
Criteria for judging dance videos/films 2011
Theme: sted/place
The most important criteria: creativity and originality, amplifying the intention, the choreography of movement, adaptation of movement to the camera, the movement of the camera, the rhythm of the edit, the narrative – linear or poetic, the location, costume, objects, set, overall aesthetic “look and feel”, sounds and music used to amplify the notion of “place” or “sted”. We will look out for how “place” or “sted” is translated with kineasthetic and visceral impact, immediately translated and understood by the viewer. We will also take into consideration if the screendance maker has fulfilled all the competition rules and requirements.
Posted by NAOTO IINA on February 13, 2011 at 6:39pm
We are happy to establish a link and reprint to your website,twitter,facebook etc...
●●● !!! CALL FOR ENTRIES !!! Deadline / 1 JUN 2011 17th-19th SEP Sat 2011
Dance and Media Japan
Video Dance Festival 7th @saitama art-theater
the 7th DMJ International Video Dance Festival @ Saitama Arts Theater [screening] 17 - 19 SEP 2011 [workshop 1] 13 SEP 2011 [workshop 2] 26 - 29 OCT 2011
Dance film and video entries are now being accepted for the DMJ International VIdeoDance Festival 2011
We are looking for dance films and videos in various styles, that combine choreography and cinematography. We welcome shorts, features, animation and video clips.
If you want to participate please send us your material. We can accept following formats: DVD,
With limited resources, how should a dance film service organization best focus their efforts on nurturing the dance filmmaker? Do dance film festivals actually help the dance filmmaker? When DFA's Festival started in 1971, it formed a community, brought the user, producer, and filmmaker together. But now with over 5,000 film festivals and dance film festivals sprouting up everywhere, multiple options to screen your work on-line, what impact does a screening have on a filmmaker's career. The "rejected" entrant rarely goes to the film festival they applied to. So dance film screenings are not educating the new filmmaker.
How could time/energy/attention be directed in another way, to further the art of dance on camera?
To my mind, when 6/8s of the entrants are not chosen for any film festival, maybe there is a better way to nurture those 6/8s rather than saying "Thanks..better luck next time."
Could one do the same annual call for entries but instead of competing just for a screening(s) at various venues and a cash prize, maybe additional choices could be added, such as the following:
1) One on one consultations with:
a. editor
b. cinematographer
c. choreographer
d. producer
e) idea/script advisor
2) Closed screening with feedback from the above
3) Introductions to:
TenduTv producer Marc Kirschner
Dance-tech.net guru Marlon :)
Wizkid of your choice....
4) Workshop with 10 at a time
But all the above would cost money. How much? Maybe the entrant could decide to chosen for tier 1 - screenings & cash - $35, Tier 2 - consultation - $60, or 3 - workshop -$75.
MOBA is "...ia new four year project (2010-2013) of The Forsythe Company providing a broad context for research into choreographic practice. The main focus is on the creation of on-line digital scores in collaboration with guest choreographers* to be made publicly available via the Motion Bank website. Both these unique score productions and development of related teaching curriculum will be undertaken with and rely on the expertise and experience of key collaborative partners."
DATAPOLIS is a call for theory and practice based proposals addressing emerging interactions of media technologies, novel visualization practices and urban realities.
Let us discover the moods and the rhythms of our cities, bodies and planet and innovatively mash both visible and invisible data that re-present individual and collective lives and actions.
Among the artists and researchers pre-negotiated to participate there are (A-Z): Darina Alster (CZ), Guy van Belle (BE/CZ), Dusan Barok (SK), Prokop Bartonicek (CZ/DE), Laura Beloff (FI), Mar Canet (ES), Daphne Dragona (GR), Takumi Endo (JP), Andy Gracie (GB/ES), Varvara Guljajeva (EST), Michal Kindernay (CZ), Martin Kohout (CZ/DE), Alessandro Ludovico (IT), M2F? (FR), Macula (CZ), Michael Markert (DE), Akos Maroy (HU), Julian Oliver (NZ/DE), Radka Peterova (CZ), Marie Polakova (CZ/ES), Jan Rod (CZ/JP), Tomas Rousek (CZ), Mark Shepard (USA), Petr Sourek (CZ), Franco Torriani (IT), Mahir M. Yavuz (TU), and many more...
We invite your participation too!
Submission deadline for artworks, papers, posters: 22|2|2011
13 Feb, 20:00 "Glorious Hole" by Ben Evans and "The man with sad eyes, or Wild Eyes" by Michael Helland VOLKSROOM Chaussee de Mons 33B Anderlecht 1070 Brussels, Belgium.
In Glorious Hole, a new solo by Ben Evans, everyday actions and materials become the source of spectacle. Lost figures are found and lost again; memories are fictionalized, appropriated and forgotten. A lone figure struggles with the emptiness of time passing, and the glory of the stage.
Ben Evans is a performance-maker working in Los Angeles and Paris, where he currently lives. He has worked and studied alongside Goat Island, Anne Bogart and the SITI Company, Mary Overlie, Deborah Hay, Meg Stuart, Keith Hennessy, Jennifer Lacey...and his work and collaborations (with the Los Angeles-based madhause and others) have been seen in Los Angeles, Boulder, New York, Paris, Athens, Berlin, London and Kerala (India). He graduated from Yale University in 2005 and is currently a PhD candidate in philosophy and choreography at the University of Paris VIII.
"The man with sad eyes, or Wild Eyes'"solo performance by Michael Helland
In 'The man with sad eyes, or Wild Eyes' Michael Helland excavates his recent creative history to compose a precarious live performance obstacle course. The roles he has played on stage, the roles he plays in public life, and the personal archetypes that define him become musings for an accidental performance that questions our notions of selfhood and propriety.
Bio: Originally from the Seattle area, Michael Helland lived and worked in New York City for six years before moving to Brussels in 2010. He is a 2009 Bessie award winning performer and a 2010 danceWEB scholar. Recent performance credits include works with Marina Abramović, Big Art Group, Faye Driscoll Group, RoseAnne Spradlin, and robbinschilds. His works for the stage and collaborative event structures have been presented widely in venues across NYC and beyond, including the Chocolate Factory, Dance Theater Workshop, Danspace Project, and the Scope International Art Fair at Lincoln Center.
Wednesday February 16th – Phill Niblock, in concert and in conversation
4pm Gaskell Building / Artaud Performance Centre
Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade-hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. His influence has had more impact on younger composers such as Susan Stenger, Lois V Vierk, David First, and Glenn Branca. He's even worked with Sonic Youth's Thurston Moore and Lee Renaldo on "Guitar two, for four" which is actually for five guitarists. This is Minimalism in the classic sense of the word... Niblock constructs big 24-track digitally-processed monolithic microtonal drones. The result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. And this isn't choral work. "A Y U (as yet untitled)" is sampled from just one voice, the baritone Thomas Buckner. The results are pitch shifted and processed intense drones, one live and one studio edited. Unlike Ligeti, this isn't just for voice or hurdy gurdy. Like Stockhausen's electronic pieces, Musique Concrete, or even Fripp and Eno's No Pussyfooting, the role of the producer/composer in "Hurdy Hurry" and "A Y U" is just as important as the role of the performer. He says: "What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly." Niblock was making films (such a "Movement of People Working" which will be screened here) which are painstaking studies of manual labour, giving a poetic dignity to sheer gruelling slog of fishermen at work, rice-planters, log-splitters, water-hole dredgers and other back-breaking toilers. Since 1968 Niblock has also put on over 1000 concerts in his loft space, including Ryoji Ikeda, Zbigniew Karkowski, Jim O'Rourke.
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[ "Beyond Presence" by Medhit Farajpour, originally schedule to perform his solo performance "Confession" and discuss his work, was unable to enter the UK and his visit unfortunately had to be cancelled. Mehdi Farajpour (1980 - Iran) is a conceptual performing artist; his main activities are divided in two parts: Creation and Teaching. Besides his creations for the stage, he is also firmly focused on teaching his creative way of dancing: “Meditative dance”. His artistic career covers different fields such as Literature, Poetry, Dance, Butoh, Photography, Video, Music and Theatre. In 2002, he launched Oriantheatre Company in Tehran and he promoted the company on international stages. www.mehdifarajpour.com & www.oriantheatre.com ]
Wednesday March 2nd Aviva Rahmani “Trigger Point Theory as Aesthetic Activism” 4pm Gaskell Building Drama Studio
Trigger Point Theory as Aesthetic Activism is a methodology conceived by ecological artist Aviva Rahmani, to use body knowledge to see the global in the local. Based in current environmental restoration theory and practical experience, it combines science, performative means and discussion to identify where and how people can intervene in sites of serious environmental degradation.
Aviva Rahmani, ecological artist and Affiliate, Institute for Arctic and Alpine Research (INSTAAR), University of Colorado at Boulder, received an Arts and Healing Network 2009 award for her work on water. In 2009, she began performing workshops about her theoretical approach to environmental restoration, "Trigger Point Theory as Aesthetic Activism," beginning at the Survival Academy, Copenhagen, Denmark. Her new media project on global warming, Gulf to Gulf (2009- present), fiscally sponsored by the New York Foundation for the Arts (NYFA), tracks the global impact of extractive industries. Previous ecological art projects have resulted in the restoration of a former dump site to a flourishing wetland system (Ghost Nets), linking 35 hectares of migratory bird fly zone habitat and helped catalyze a USDA expenditure of $500,000 to restore an additional 13 hectares of critical wetlands habitat (Blue Rocks) in the Gulf of Maine. Internationally known, exhibited and published for her installations, remediation earthworks and environmental art activism, she has over 40 years collaborative experience with scientists. Rahmani received her Masters from the California Institute of the Arts working with Allan Kaprow and is a PhD candidate at the University of Plymouth, UK.
Wednesday March 16th Ursula Mawson-Raffalt & Anthony J. Faulder-Mawson “90’ Silence + Activity “ 4pm Artaud Performance Centre
A performative and exhibitive lecture demonstration that investigates the border territory between the disciplines and experiments with blurring the boundaries between performance, exhibition and lecture.
Ursula Mawson-Raffalt and Anthony J. Faulder-Mawson both direct the International Platform for Innovation in the Arts. Known particularly for the avant-garde nature of their works, their artistic integrity and unique artistic language, Ursula Mawson-Raffalt and Anthony J. Faulder-Mawson invent means to layer their independent works to form a third entity which is somehow greater than the sum of its parts. Their artistic vision is derived from the view that “ Art is an OPEN SYSTEM that sustains the flow of oxygen and heals and transforms and relates specifically to time, the embodiment of silence and memory and the articulation of contemplative space through movement, text, voice, spatial drawings, light, painting, video, photography, media and sound.
In 1993, when they founded the inter-& cross disciplinary association known under the logo ) + ( = a0, they began a serious, passionate & challenging lifelong collaboration which is rooted in the dialogue about their integrative methods of construction and presentation. Based on their significant groundbreaking methods, both artists have built up, over twenty years, a highly rigorous, complex and responsive working practice in the fields of performing and visual arts. Working as the innovators, creators, artistic directors and producers, they have since created & produced a large body of work - over thirty international projects to date, - conceived for the theatre, exhibition space and for site specific locations which have been shown in Belgium, Holland, Denmark, Germany, Ireland, Israel, the UK and Romania.http://mrplusfm.blogspot.comwww.mrplusfm.net
Wednesday March 30th Nick Hunt “Designer > Performer Repositioning the role of the theatre lighting artist” 4pm Gaskell Drama Studio
The role of the person with creative responsibility for lighting in theatre performance has traditionally been conceptualised as ‘designer’ – someone who makes a prior imaginary act before the moment of performance, which is then replayed in performance through an essentially procedural, non-creative, process. I want to propose a partial reinvention of theatre lighting as an arts practice, emphasising the live operation or ‘performance’ of lighting, rather than its design prior to the performance event, and conflating the existing roles of the lighting designer and the lighting operator into the lighting artist. In this seminar, I trace the historical origins of the professional role of the lighting designer and how it is structured, and suggest some strategies for making the shift from designer to performer. As well as describing changes to rehearsal room practices to include lighting, I demonstrate a custom lighting control interface conceptually structured in terms of lighting affects and temporal dynamics,that provides a playable, expressive instrument for the performance of theatre lighting.
Nick graduated with a degree in Mechanical Engineering before deciding that theatre was more interesting than thermodynamics. After ten years as a professional lighting technician and designer, he started teaching at Rose Bruford College, where – some thirteen years later – he is currently Head of the School of Design, Management and Technical Arts. Nick’s principal research interest at present is the performative potential of light and the lighting artist as performer. Nick’s other research interests include digital scenography and digital performance, the history of theatre lighting, and the roles and status of the various personnel involved in performance-making.
The Centre broadcasts selected Performance Research Seminars live from the Brunel Drama Studio - making them available to anyone in the world interested in the subject. Johannes Birringer and Marlon Barrios Solano are co-producing the talks and discussions as live webcasts webcast live on dance tech net TV . The partnership between the Centre and dance-techTV, is an experiment in collaborative video broadcasting (the channel is dedicated to interdisciplinary explorations of the performance of movement. The channel allows worldwide 24/7 linear broadcasting of selected programs, LIVE streaming and Video On-demand).
Wondering how Wim Wenders 3d film on Pina Bausch is being received at Berlin Film Festival, I scanned the website of this famous festival. What can be learned from how they run it?
Asked to do a self-evaluation for DFA's Board, I am exploring a bit beyond the same final report requested by any funding agency, such as NEA. What more could be done?
The Berlin Festival proudly presents 8 categories of films: 1) BIG name fiction features expecting big audiences, 2) art -house expecting small audiences, 3) films for the young, 4) films from Germany, 5) out-there & weird "disturbing" films, 6) Retrospective, 7) Homage to an actor 8) Shorts - only 30!
From that list, dance on camera festival shows the art house, out-there, retrospective and shorts. Occassionally DFA does an homage, such as last year's tribute to Alwin Nikolais. Perhaps next year we will do one for Gene Kelly. This year, DFA had the honor of offering Carlos Saura's FLAMENCO FLAMENCO US Premiere and simultaneous US premiere of Masayuki Suo's DANCING CHAPLIN.
But what about films for the young or a US dance film program? Should these categories be promoted for Festival 2012? Are the Hollywood hip hop guy meets ballerina films the only dance films created for young eyes? Are they being made but they aren't being submitted to dance film festivals? Should we commission them?
Now back to wondering how the Berlin crowd will receive Pina Bausch....
“My Private Bio-politics” performance by Saša Asentić was from the beginning conceived as an open research within the field of dance and performance in Eastern-European transitional context. It arose as a part of a perennial research and artistic project called „Indigo Dance“ in which a number of associates of different profiles were included – performer and culture worker Saša Asentić, ballerina, dancer, and choreographer Olivera Kovačević – Crnjanski, performing arts and culture theoretician and dramaturge Ana Vujanović, as well as others – and is realized through different work formats: in addition to the performance, there are also a CD presentation “Bal-Can-Can Susie Dance” and historical archive/video installation “Tiger’s Leap into the Past” and “Recycle Bin” as its addition.
Author and performer: Saša Asentić Assistance: Olivera Kovačević-Crnjanski Theoretical support and dramaturgy: Ana Vujanović
Duration: 55 minutes
Premiere date: 11th February 2007
Place of premiere: Serbian National Theatre – Novi Sad, Serbia
Supported by: Performance is made in co-production with Centre national de la danse – Paris, research in residency (Theorem Dance residencies), and is prepared within interdisciplinary dramaturgical trainings of THe FaMa in Belgrade and Dubrovnik. Performance is supported by DanceWEB (with the support of the Cultural Programme 2000 of the European Union within the frame of danceWEB Europe).
Concept: This work tries to deal with its own macro and micro conditions in which it appears.
For the beginning, to make them visible because of specification of mechanisms and procedures of the production of dance on Serbian scene. Then, to intervene. However, this led to a series of questions which were left without final answers. Finally, these questions, in their complexity, became the main intervention which this work is going to try to carry out.
The questions spring from the problem of positioning within relations of global and local bio-powers and bio-politics of dance in Serbia today. How to locate “one’s own (private and public) specificity”? And what is to be done with it bearing in mind the tensions between local ideologies and global expectations related to these ideologies: evacuate it from the work in order to achieve successful communication (or coquetting) with the global, that is, Western, trends, in which this specificity is not included; or to base the work on it even at the cost of failure, i.e. exclusion from conceptual-programmatic map of the international scene? Furthermore, does the former strategy gives us “a right to discourse” or is this decided at a completely different place and by means of completely different procedures?
Which ”bodies” are imprinted in the body that is dancing today on the Serbian scene? For example, which bodies (coming from this specific context) are projected, through expectations of a hypothetical “Western curator, and by this a spectator as well, almost as a genetically determined feature/difference from the “Western one”? Where the particularity of that context is, in its contemporaneity, very gloomy – that context is not a part of the First World, it is not EU, it is still called the East (even though the West is not called “West” any more), it is post-socialist in the capitalist world, and it is terribly transitional, without a single bit of “flexibility and nomadism” which would make it exotic. Which are, on the local dance scene, the bodies that hover dancing in the air here, over an “indigo paper” (carbon copy), without being “grounded” in such a context, and which are moved by a wish to be contemporary, maybe even resistant? And then again, which are the other bodies that would carry the local specificity, for which, in fact, neither we ourselves want to know? Nevertheless, if we construct and show them, although we would rather not… which bio-politics are we executing? Isn’t it not already a contribution to some other bio-power? Local? Or…? Where, in this (inter)space are this work and the politics of the body that will perform it in a public space, which we share and in which we continue to live?
Saša Asentić has interest in re-thinking and experiencing (performer’s) state of “I am…” through differentiation and understanding of actual reality (current situation in transitional society and performing arts scene) through artistic / social / political (re)actions. He has experience as author, co-author and performer in different performative forms in diverse contexts (since 1998). Individually or together with his colleagues, he has initiated several international and collaborative performing arts projects: workshops, seminars, festivals, etc (since 2000). His work was presented in different festivals and art centers in USA, France, Germany, Austria, Spain, Portugal, Finland, Greece, Ireland, Poland, Lithania, Romania, Croatia, Slovenia, Bosnia and Herzegovina, Serbia, Macedonia, etc. (since 2000). Asentić has autodidactic informal education in the field of performing arts (since 1995), he is initiator of the artistic organization Per.Art (2005) and author and leader of program „Art and Inclusion“ for mentally disabled people (since 1999). He took part in ex.e.r.ce 2008 program in Centre choregraphique national Montpellier and in 6m1L extenssion project in 2009 in PAF (France) and IN-presentable festival (Spain). He collaborates with Ana Vujanović, Xavier Le Roy, Eszter Salamon, Bojana Cvejić, Olivera Kovačević Crnjanski and others. Asentić studied Agriculture and Pedagogy at University in Novi Sad, Serbia.
…A Bosnian who lives in Serbia, Asentić decided on lecture-performance format not because he, as he noticed self-ironically, “wouldn’t be able to produce a dance piece,” but first of all, to raise the issues dealing the way of functioning and codes of dance concern. In “My Private Biopolitics” the performer is toying with quotes of Western-European role-models like Jérôme Bel and Xavier Le Roy, and opposes clichés of “exotic,” “awkward” and “old-fashioned”, with which an Eastern-European artist has to fight against, if they wish to endure on an international market. tanznetz.de (Berlin, Germany) Reviews –Shows – Burning questions Tanz im August Festival 2007
…Productions like Sasa Asentic΄'s which do not hold the terrified and terrifying mask of contemporaneity up to their audiences' face, fare better. Sasa Asentic΄ plays around with the trauma in a humorous and funny way, keeping his ironical distance to the mask without denying both the artistic and economic necessity to deal with it. Balkan Dance Platform 2007 Journal (Athens, Greece) The Fear of Representation, or Reifying the Weosft eCronn Itmemagpeo raneity Gerald Siegmun
...In this critical look at the Serbian dance scene, Mr. Asentic also explores larger issues in the world of contemporary dance. His observations, through text and movement, delve into questions of marketability and what constitutes authentic Eastern European dance...
...There are many levels to “My private bio-politics” — a good thing — yet its message is simple: Always break the rules.
The New York Times (New York, USA)
...Serbian artist Sasa Asentic directly addresses the question of the creative distribution system, deconstructing the absurd processes, expectations, and outcomes it produces. He uses linguistic tricks borrowed from theorists, picking apart their practical quandaries, all the while constructing his argument and, by extension, this particular performance...
...Critical and self-reflexive, Asentic exposes and exploits the absurd conditions that exist within our cultural systems, laughing but aware of the consequences that come when those at the margins are brought into the center.
What's particularly enticing about the artist's implicit thesis is that by participating as audience members at his debut US performance - that is, in purchasing his performance product through the distribution modes of the West - we become part of the dialectic in the immediate moment of the performance as it happens.
It's hard to make ontological pluralism or theory of any kind entertaining, but Asentic succeeds spectacularly.
Gay City News (New York, USA)
Modes Of Production
Brian McCormick
…At first site, “My Private Biopolitics” is mainly a text, a conceptual piece, bordering with lecture-performance genre.And then again, as this short council unfolds, it becomes more obvious howAsentićarranged this small piece with quotations and repeated parts, an astonishing shifts of perspective and subtle shifts of context, as well as alternations of closed and complex sequences of movement.
Every sentence, every reminiscence and gesture flows back into discourse on contemporary dance and its conditions in different context. Of course, as a performative practice which Asentić, with such an ease,managed to interweave in a formally completed étude that made it more tangible, and in the same time more convincing, for it lacks any kind of artificial or didactic stance.
Dance is, similarly to music, by its tradition some sort of 'pure' art. Pure, because it realizes the aesthetical effect more directly and primarily than the language does. In other words: dance is attractive because it is mute. A body, being the main organ of dance articulation, is mute. Furthermore, when talking about contemporary dance, which has given the body additional theatre expressive devices, we can talk about aesthetics all of which are, again, in connection with the way the choreographer wants a body to be handled with, ie with his attitude towards the body. Jérôme Bel, for example, brings to his memory bodies in dialogue with mass culture discourse, while, on the other side, while watching bodies closed in precise organic-mimetic minimalism, we think about Xavier Le Roy.
Saša Asentić puts in front of us comment dance. In his case, the body speaks and while speaking, it talks about itself. Instead of a body in front of discourse (presence in front of a language), he offers us a body in discourse. We could say that it is all about performance-lecture, but this statement would not be precise enough. The essence is in dance, the one that is present in its absence, with Asentić’s witty remarks.
The question that arises is: what kind of show an East-European artist (dancer) should make to draw attention? It goes without saying that being noticed means the same as staying alive. It represents a source of income and a chance to organize on other locations already active shows, as well as a chance to create new ones. In other words: to be noticed, you do not have to be an artist. This truth mostly bothers an artist, on the field of his creativity freedom. The problem that occurs in Asentić's correspondence reading, quoting, and representation of materials for his projects is present to the same degree as in subordinated-stereotypical perspective of West and East which is being kept alive by coordination of an international net of critics and theoreticians about art historization and contemporary aesthetic trends, and also like in inertion of Eastern (in Asentić's context Balkanian) scene that came to his dream like an elephant trained to respond to it by rhetoric, while the elephant itself moves with great difficulties. He asks himself, with ironic sharpness, whether the destiny of dance in Eastern Europe is to continually sink into oblivion, on one hand doomed to its local context and exoticity, and, on the other hand, to refusal of Western aesthetics.
In conclusion, Asentić offers us dance that consists of caricatured choreographies of well-known names of modern dance (among them important places are taken by the above mentioned Jérôme Bel and Xavier Leroy) and a video clip (made from the ground floor) without a comment that in the end he satisfies Western aesthetic standards to apply for a festival, which opens him the door to the world.
The joke is delicately brutal and the message brings us directly down to earth: freedom in art is relative and territorially conditioned. Geopolitically colored dance valuation forces dancers to develop a strategy of aesthetic manipulation with their own bodies, which is, at the same time, their surviving strategy – their own biopolitics.
Frankfurt. It is a short journey between East and West. But then again, entire worlds lie between the two theatre spheres, which Saša Asentićin “My Private Biopolitics” started to measure over while talking, contemplating mainly in a choreographic-theoretic, therefore practical way. On the left, there appears dance scene as the core abstract frame, as a discourse platform of conceptual strategies with video, sketches and stacks of texts while the right side presents stylized mine field, on which there’s barely anything, except for an icon and, serving as its mirror, a graphics showing a dancer like Loie Fuller or Mary Wigman, with a shiny golden frame.
The space between is basically the one thing that entire Asentić’s performance moves around. This is the performance with which the artist from Bosnia, living in Novi Sad, presented himself for the first time in Frankfurt Mousonturm. Because, the essence of this extraordinary light, and at the same time highly concentrated and continually, pleasantly comic work, is nothing short than contemporary dance itself. And, as far as this subject is concerned, the answers to all those questions asked to someone living in Serbia, who happens to be a dancer there, a socialized artist, he is trying to find in the West. Should he thematize the political context, to give way to traditional dance, or even folklore, so that he, as an outsider, could present himself as refreshingly interesting? Or is he contemplating on Avant-garde from Jérôme Bel to Xavier Leroy, so that he himself could become a part of an international discourse? But, how can that function, to refer to great masters without making a simple “ornament” out of them? How to find your own language and choreographies, without becoming corrupt? At first site, “My Private Biopolitics” is mainly a text, a conceptual piece, bordering with lecture-performance genre.
And then again, as this short council unfolds, it becomes more obvious howAsentićarranged this small piece with quotations and repeated parts, an astonishing shifts of perspective and subtle shifts of context, as well as alternations of closed and complex sequences of movement.
Every sentence, every reminiscence and gesture flows back into discourse on contemporary dance and its conditions in different context. Of course, as a performative practice which Asentić, with such an ease,managed to interweave in a formally completed étude that made it more tangible, and in the same time more convincing, for it lacks any kind of artificial or didactic stance.
As “work in regress” (the way that artist characterized his work in the meantime), “My Private Biopolitics” does not show itself simply as a dilemma in form of performance, but in the same time as a way to overcome it through dance, completely in the sense of what Boris Groy said: The basic difference between the Eastern and the Western art is, as performer quoted, the fact that Eastern art always comes from the East. Asentićprobably doesn’t believe in that. But he is working on it.
“My Private Bio-politics” performance by Saša Asentić was from the beginning conceived as an open research within the field of dance and performance in Eastern-European transitional context. It arose as a part of a perennial research and artistic project called „Indigo Dance“ in which a number of associates of different profiles were included – performer and culture worker Saša Asentić, ballerina, dancer, and choreographer Olivera Kovačević – Crnjanski, performing arts and culture theoretician and dramaturge Ana Vujanović, as well as others – and is realized through different work formats: in addition to the performance, there are also a CD presentation “Bal-Can-Can Susie Dance” and historical archive/video installation “Tiger’s Leap into the Past” and “Recycle Bin” as its addition.
Author and performer: Saša Asentić Assistance: Olivera Kovačević-Crnjanski Theoretical support and dramaturgy: Ana Vujanović
Duration: 55 minutes
Premiere date: 11th February 2007
Place of premiere: Serbian National Theatre – Novi Sad, Serbia
Supported by: Performance is made in co-production with Centre national de la danse – Paris, research in residency (Theorem Dance residencies), and is prepared within interdisciplinary dramaturgical trainings of THe FaMa in Belgrade and Dubrovnik. Performance is supported by DanceWEB (with the support of the Cultural Programme 2000 of the European Union within the frame of danceWEB Europe).
Concept: This work tries to deal with its own macro and micro conditions in which it appears.
For the beginning, to make them visible because of specification of mechanisms and procedures of the production of dance on Serbian scene. Then, to intervene. However, this led to a series of questions which were left without final answers. Finally, these questions, in their complexity, became the main intervention which this work is going to try to carry out.
The questions spring from the problem of positioning within relations of global and local bio-powers and bio-politics of dance in Serbia today. How to locate “one’s own (private and public) specificity”? And what is to be done with it bearing in mind the tensions between local ideologies and global expectations related to these ideologies: evacuate it from the work in order to achieve successful communication (or coquetting) with the global, that is, Western, trends, in which this specificity is not included; or to base the work on it even at the cost of failure, i.e. exclusion from conceptual-programmatic map of the international scene? Furthermore, does the former strategy gives us “a right to discourse” or is this decided at a completely different place and by means of completely different procedures?
Which ”bodies” are imprinted in the body that is dancing today on the Serbian scene? For example, which bodies (coming from this specific context) are projected, through expectations of a hypothetical “Western curator, and by this a spectator as well, almost as a genetically determined feature/difference from the “Western one”? Where the particularity of that context is, in its contemporaneity, very gloomy – that context is not a part of the First World, it is not EU, it is still called the East (even though the West is not called “West” any more), it is post-socialist in the capitalist world, and it is terribly transitional, without a single bit of “flexibility and nomadism” which would make it exotic. Which are, on the local dance scene, the bodies that hover dancing in the air here, over an “indigo paper” (carbon copy), without being “grounded” in such a context, and which are moved by a wish to be contemporary, maybe even resistant? And then again, which are the other bodies that would carry the local specificity, for which, in fact, neither we ourselves want to know? Nevertheless, if we construct and show them, although we would rather not… which bio-politics are we executing? Isn’t it not already a contribution to some other bio-power? Local? Or…? Where, in this (inter)space are this work and the politics of the body that will perform it in a public space, which we share and in which we continue to live?
History of the project
2007 Performance has been going through constant change since its premiere in Novi Sad, Serbia in February 2007.
It was presented at the following festivals and / or art centers: Serbian National Theatre Novi Sad, Tanz im August Berlin, Bitef Showcase Program Belgrade, Balkan Dance Platform Athens, National Dance Centre Bucharest, Have U Met Nosti Arts Festival Dublin, Mladi Levi Festival Ljubljana, ExTeatar Fest Pančevo, and East Dance Academy Week Zagreb.
As a reflective and self-reflective work, the performance changed, under the influence of specific geo-political and performing arts contexts, as well as change of a personal status on Serbian and international scene, and macro-social trends in the field of contemporary dance and performance. During the year of 2007, the performance was a bit different in every show – it included new materials, some earlier included were left out and then, perhaps, included again, displaced from one show to another…
2008 One year after the premiere of the performance things seemed somewhat different. Actual social and artistic situation and circumstances of performing the work gave us some answers themselves, and at the same time raised new issues. The work in its original and integral version was for the last time shown at its anniversary, in February 2008, again in Novi Sad. At that point – reflecting the fact that performance started to circulate regularly in European system of contemporary dance – we faced the exhaustion of a departing concept and blunted the edge of the subject matter and critical potential. According to that, we decided to turn this work-in-progress into work-in-regress. The seriousness of dance research comprehension takes us to the erasing and disappearing of performance, on the stage and before the eyes of the audience. Performance is gradually being turned into an archive video-documentation, thus being deprived of a living circulation and opening itself towards history.
In this way, during 2008, it was performed at: Centre National de la Danse Paris, Mousonturm Frankfurt, Sommerszene 08 Festival Salzburg, International Contemporary Dance Festival “New Baltic Dance’08” Vilnius, Stary Browar Art Center Poznan, Moving in November Festival Helsinki, and Complicitas Festival (La Mekanika) Barcelona.
The last performance, the performance without performance, i.e. the performance as a self-video-documentation, was presented in Belgrade, in February of 2009.
2009 After self-abolition of performance as an art piece, we go on to the next phase of work. “My Private Bio-politics” performance as a personal artistic and political statement of the author and his team, characteristic for transitional Serbian society and art and their positioning with regards to scenes of the First world, now we comprehend the work as an artistic means, a methodological tool which we developed and wish to give in the hands of artists of the contemporary dance and performance, who are willing to explore, to reflect their contexts and public work, to all who have something to say about structuration of global World of contemporary dance and performance – but have been deprived of voice, and cannot be heard as really relevant participants.
We will organize research, art and methodological games, discussions and workshops, while the performance will be only a demonstration example.
In this transfer there is some (self)ironic reference to the practice of “choreography transfer” of the great Western mainstream choreographers, with a difference that here – having in mind that the author neither fits in the profile, nor has a “recipe for success” – we don’t have a transfer of a masterpiece, not even piece, but critical open source program of artistic work. By this, we will deliver the tools to local artists for their own “private biopolitics” – through which they will tell their own stories about symbolical ownership over history and concepts, monopolizing of global dance and performance scene, and patronization of “the backward” and “the late comers”.
Performance „My private bio-politics“ in its 3rd phase will be presented it the frame of the following 3 days program. Program will comprise of Demonstration #1 and #2 and Methodological games and will be led by Ana Vujanović – theorist of performing arts, Olivera Kovačević-Crnjanski – choreographer and Saša Asentić – performer and cultural worker.
1st day: Demonstration # 1 „Tiger’s leap into the past“ – lecture and discussion (2 hours)
2nd day: Demonstration # 2 „My private bio-politics“ performance (50 minutes) Round table discussion / After talk moderated by the local theorist/artist (1 hour)
3rd day: Methodological games # 1 applied to the subjects and concepts of Demonstration #1 and #2 Meeting with local dance artists, theorists, critics, etc (4 hours) for more info about the games please visit: www.everybodystoolbox.net
In 2009 the work was presented in: Dance Theatre Workshop (New York) TransEurope 2009 Festival (Hildesheim) Personal Profile Festival (Moscow) In-Presentable Festival (Madrid) Off Europa Festival (Leipzig and Dresden)
In 2010 the work was presented in: Serbian National Theatre (Novi Sad) Wienner festwochen (Vienna) Dance, politics and co-immunity symposium – University in Geissen (Giessen) December Dance Festival (Brugge) BilBak and ARTEA program - Universidad del País Vasco (Bilbao)
Textual version of the performance was presented as “My private bio-politics / performance on the paper floor” in:
Performace Reaseach: On choreography (2008)
TkH - journal for performing arts theory (2008)
MOVE: Choreographing you - More archive program (2010) Southbank Center - Hayward Gallery
I'm now entering, since some months ago, the world of MSP. I had the chance to explore the basic concepts of MAX and some of the Jitter elements. As a musician I would like to take advantage of the infinite possibilities of MSP to get a more interesting sound, and of course more open to visual and performative systems.
The truth is that I go very slowly, reading the great tutorials. I don't have much time lately, so I slowly learn the basics of the audio flow in Max. I haven't done anything speciall yet, so I won't post any image or example (anyone needs the tuorials posted...?)
Well, if it is of any help for musicians who doesn't work with Max, I would like to encourage them to throw themselves into it. I usually work with Ableton Live. MSP is the total creative tool, as you build the sound from the very beginning. I must say that I am resisting myself from buying Max for Live. I want to learn the basics first and then get it! That will be total joy... :)
I hope I can post some examples soon. Or much better, I hope I can post the music that I'm producing soon!
Entrenar desde un cuerpo consciente, perceptivo y despierto elementos técnicos y compositivos propios de la "nueva danza": la danza como acción física, el cuerpo en "estado de danza", la danza con lo que ya hay y la danza con lo cotidiano, el gesto, destrezas y habilidades, improvisación y composición.
Martes y Jueves de 19 30 a 21 30 hs
Lunes y Miércoles de 11 15 a 13 15
Sábados de 13 a 15
Arancel desde Marzo:
Una vez por semana $130.- 2 horas semanales
dos veces $180.- 4 horas semanales
tres veces $ 220.- 6 horas semanales
Incluye apuntes digitalizados.
TÉCNICAS CORPORALES INTEGRADAS(T.C.I.)
Flexibilidad Global. Sensopercepción. Esferodinamia. Elementos de eutonía y anatomía funcional. No se requiere experiencia previa
Martes y Jueves de 18 15 a 19 15
Lunes y Miércoles de 10 30 a 11 30 hs
Sábados de 12 a 13 hs
Aranceles:
1 vez por semana $100.- (1hora por semana)
2 veces $ 130.- (2 horas por semana)
3 veces $ 160.- (3 horas por semana)
Incluye apuntes digitalizados.
Combinando T.C.I. + D.T.
1 vez por semana $160.- (3 horas semanales)
2 veces $210.- (6 horas semanales)
3 veces por semana: $ 250.- (9 horas semanales)
Incluye apuntes digitalizados.
Nota: Alumnos sin ninguna experiencia en danza que quieran iniciarse en danza teatro se les recomienda tomar esta opción combinada T.C.I. + D.T.
GRUPO DE ESTUDIO EN COMPOSICIÓN: CUERPO, ESPACIO Y SOPORTE.
¿Cómo cuenta un cuerpo? ¿de qué hablamos cuándo hablamos de composición física?
¿que premisas/ paradigmas/problemas/ preguntas están en juego en el arte contemporáneo hoy día?
¿cómo y desde dónde dialoga la danza con ellas?
¿porqué la danza teatro NO es la suma de danza + teatro en el sentido literal de cada una de esas palabras?
Destinado a estudiantes de artes performáticas (danza, teatro, circo, música, etc) y video arte interesados en iniciarse en el lenguaje compositivo o con necesidad de profundizar en él con un mínimo de 3 años de formación.
Objetivos:
Acercar elementos concretos de organización y composición del material escénico/ performático desde un abordaje analítico e integrador.
Se trabajará a partir de la propuesta/idea de cada participante en la elaboración de performances interdisciplinarias y/ o videos performances.Todos los lenguajes estéticos son bienvenidos.
Generación de instalaciones y performances en espacios abiertos y cerrados en Agosto y en Diciembre del 2011
Algunas Premisas del trabajo:
El cuerpo como herramienta fundante del trabajo. La presencia escénica. Habitar el propio cuerpo. Habitar/ fundar/problematizar el espacio.
La danza con lo que hay: cuerpo, espacio, tiempo, arquitectura.
La generación de imágenes. Sensorialidad y escucha. "Ponerle el cuerpo" a la imagen
Diferencia entre imagen e idea.
La organización de la propia producción. (Partitura/ Improvisación/ composición Instantánea)
Análisis de la producción personal
Dramaturgismo en danza y concepto de puesta en escena.
Elementos técnicos y manejo de soportes tecnológicos.
Fotografía y video en la performance.
Video danza como género.
Análisis de obras. Salidas grupales.
Frecuencia quincenal: sábados de 15 30 a 18 30 hs.
Arancel: $ 160.- por mes. Alumnos de DT $80.-
Incluye apuntes digitalizados.
5 y 19 de Marzo. 16 y 30 de Abril. 14 y 28 de Mayo. 11 y 25 de Junio. 9 y 23 de Julio
Estudio Casa Puán (Puán al 800 frente al Parque Chacabuco).
Te traen Subte E (Emilio Mitre),
Subte A (Puán). Colectivos: 4, 7, 44, 26, 56, 103, 126, 134, 155, 180 (y muchos más por Rivadavia)
Para ver trabajos previos podés mirar este mismo blog y también:
El trabajo corporal tanto técnico como creativo implica un proceso y un fuerte compromiso tanto del facilitador como del alumno. Para conocerlo se sugiere tomar mínimo un mes de clases. No está habilitada la posibilidad de tomar clases sueltas de prueba.
En caso de faltar las clases se pueden recuperar dentro del mismo mes.
Los grupos son reducidos y las vacantes muy limitadas. Se reservan únicamente por depósito bancario o transferencia por el 50% del arancel del primer mes. Solicitar Nº de cuenta por mail.
El resto del arancel se abona la primera clase.
En los meses subsiguientes el pago se efectúa entre el 1ª y el 5 de cada mes. Si hubiera algún inconveniente rogamos avisar con anticipación.
The Kitchen presents the premiere of Medium (M) and Extra Small (XS), the newest additions to Trajal Harrell’s dance work,Twenty Looks or Paris is Burning at The Judson ChurchFrom Wednesday through Sunday, February 9—13, The Kitchen presents two new chapters in choreographer Trajal Harrell’s dance series Twenty Looks or Paris is Burning at The Judson Church, a decade-long inquiry into the parallel histories of post-modern dance and the voguing dance form. Receiving their world premiere will be Medium (M), aka (M)imosa, an evening-length ensemble piece; and Extra Small (XS), a solo made for a limited audience.READ MORE-->Read more…
source : http://www.apodio.org/
