Workshop

Pere Faura (Barcelona, 1980) is a dancer and choreographer. He has studied music, theatre, ballet and audiovisual communication. Between 2002 and 2006, he studied choreography at the School for New Dance and Development in Amsterdam. In 2009 he started the Amsterdam Master of Choreography at Amsterdam School for the Arts (AHK). He has participated in several projects as a dancer with choreographers like Jérôme Bel (The show must go on) and Ivana Muller (While we were holding it together) and has worked in many projects as a choreographer.

After some warm-up exercises to stir physical conscience and creative imaginary, we will study the elements implied in a striptease that are also present in eductive action, such as the lenguage of suggestion, the power of persuasion or the construction of illusion in order to perform poetic stripteases as an artistic and political practice to lay bare our own habits and cover them with new tools and landscapes.

With this 20-hour workshop the CA2M keeps on investigating education and educative uses of the body and the language of performance. Indeed, one of the lines of work of the Centre is to focuse on the body as a place to build knowledge. Guided by Pere Faura, we will reflect on education and art as political practices intending to trigger new impulses and searches for new forms of imagination not yet under control.

Aimed at teachers and people with special interest in education

Along the academic year, CA2M will offer visits and colloquiums about the exhibitions that CA2M houses. After touring the exhibition, we will have a dialogue in the galleries where CA2M educators will propose different methodological strategies to work with the pupils the exhibitions. CA2M will give to teachers a dossier with information and documentation concerning the exhibition to familiarize with contemporary art, its terms and meanings.

PROGRAMME

March 1st. Thursday

Tour to the exhibition of Aernout Mik

Mar 22 Thursday

Tour to the exhibition of Colección V 

Aimed at people engaged at teaching in formal and  non-formal settings (associations, schools, town hall, social projects), fine art students, pedagogy and social education.

This workshop becomes an space for discovery and exploration of resources based on experiences, dynamics and criteria obtained by contemporary artistic practices which are susceptible of been used within the classroom. Throughout the six session’s workshop, mostly practical, we will discover, analyze and develop creative strategies which will help you to apply them within your teaching methods.

Lecturers: Cine Sin Autor, Victoria Gil- Delgado, Carlos Granados, Rafael Lamata, Pablo Martinez, Sandra Santana and Jaime Vallaure.

During this 20-hour workshop, CA2M keeps on its line of work focusing on education and reflection regarding the educative uses of bodywork and  performance language. Guided by Norberto Llopis, we will reflect on education and art as political practices, intending to trigger new impulses and searches for new forms of imagination not under control yet. The practice will revolve around some concepts: the concept of performative act, the concept of affection and the power one.

 “Performative” act

In practamatic, the philosopher J.L. Austin explains that language is not pure, a mere instrument of symbolic communication used to transfer meanings, therefore, language can be also studied at a “performative” level, being usually an example of act of promising. Promising, not in the sense of a communication of a subjective intension of performing what it is promised, promising is an act in itself, independent even from what it was promised to finally be performed.

This practice invites us to focus on the performative aspect of our proposals. What are we doing?, What does what we are doing?, of course, I would not want falling into dogmatism, since meanings also “perform”.

Affect and power

“By affect I understand affections of the body by which the body's power of acting is increased or diminished, aided or restrained, and at the same time, the ideas of these affections…”

Barush Spinoza, Ethics, Demonstrated in Geometrical Order

Much has been said about affection, but it has not always been considered, as the aforesaid, the power or the possibility that this affect aids or restrains. Putting aside the dimension of power (in a broad sense, as restrained power as enabling, discrediting, impellenting), to some extent, the action of work is denied, limiting affections towards contemplative windows where the action goes no further than their contemplative frame.

What does it give? What does it take? What can it get? What does it want? What does it do? No place for innocence, the intensity of affection doesn´t give a certificate of innocence, like it would be like saying “this affection does not affect”. Willing to generate a discussion environment during this workshop, do not take for granted or dogmatize the concepts we start from.

Instruments

By applying different exercises and instruments to analyze and to approach to our practice by means of affection, action and power, as well as to elude mere discursive or narrative dramas: use of maps as a means to apply strategies to affect in a way to restrain other ways; use of objects as a means of materializing or objecting affects, the affects as that simulation that objects perform: and the use or creation of dictionaries that help us to understand the extension of the affects to work with.

It is a Wave, it transports perturbations in space, it will go far, 13 nomadic horsepower, new battery, it has always slept in a garage, tuned to the max, you can choose whether to pass the MOT or head for the hills, any intermediate options are also negotiable, suffice to hear it hum, it just needs a little servicing, its only fault is that it is always going off on a tangent. Ideal for excursions and short spins, getting lost among the crowd and trading cards. It includes an incomplete toolbox and drifter’s maps. Come and see it, no strings attached.

Nilo Gallego is a musician whose performances use sound as their starting point. His work, which always has a playful component, seeks the participation of the audience and interaction with the context and the everyday. He plays the drums, percussion and electronic music.

This new education project consists of thinking about the patios in education centers and possible interventions in them. These leisure spaces can provide the perfect context from which to reflect on the educational experience and the problems inherent to their architecture at present. Over the course of these months, and through a number of sessions, we will look at the needs of various centers, the invisible powers that govern these spaces and the possibility and importance of transforming them.

The artist, Bárbara Fluxá has been developing a multidisciplinary art project that revolves around an analysis of the construction of the territory as a cultural «landscape». This is why the places in which she puts together her works take on such importance as the genesis and very object of both the artistic and theoretical analysis, at the same time.

VISIT AND TALK ON PER/ FORM. HOW TO DO THINGS WITH (OUT) WORDS
Apart from visiting the Per/form exhibition with the teachers, we will also reflect on the concept of performativity in the museum and its ability to generate knowledge. On this occasion, together with the teachers we will analyze the dynamics of performance!, a joint activity with secondary school groups on this exhibition.

r, s, t, u, v, w, x, y, z, a, b, c, d, e, f, g, h, i, j, k, l, m, n, ñ, o, p, q.
Schools are places where forms of interrelating and identity are produced. At times, the classroom is governed by a set of rules based on a binary vision of gender, sex and sexuality that limit any other possibility of being in the world. School is not only a place for transmitting learning, but also a place where we learn what things should be like, and what can and cannot be done. This reality is based on a homogenising and normalising ideology that underpins the space and relationships. How can teachers intervene to question this experience of normalisation and ensure that the classroom is a place where each individual can express him or herself freely?

Conscious of the difficulty and the importance of working with these issues in schools, this year we wanted to convey what we have learned in the queer workshops with students to this space for teachers, and to generate new forms of learning through practice. With the help of queer pedagogy and certain artistic strategies, we will imagine ways of joint construction of a classroom where diverse subjectivities coexist and where sexual, racial, functional, religious and other forms of difference are not viewed as a problem. Staying clear of any form of essentialism that reproduces exclusion and violence, we will address how queerness shows us that the order we have naturalised is not fixed, that our positions change and can be displaced and are full of possibilities.

Minimum of 4 people per group