Performance

Performance

Modernity defined the perfect spaces for the contemplation of artistic practices. The white cube became the ideal environment for the contemplation of art. In the exhibition of white walls isolated from the outside, the viewer can wander among and stop before works without any distraction whatsoever. As a result, their entire being, and particularly their eye were completely given over to the aesthetic experience. This same «neutrality» would be conferred on the theatre space, in which the black box would be consolidated as the ideal device to eliminate any reference to the outer world that might distract spectators deep in concentration, who in their stillness, would watch the lives of the characters unfold in front of them as if they were seated at a café terrace.

In this cycle of performances, dance and theatre, we present a set of proposals that depart from the idea of performance as a discipline that expands and oversteps the traditional boundaries of not only the practices themselves, but also the conventional exhibition spaces and institutions dedicated to artistic practices. How can dance and theatre be presented in the same museum? To what extent can the specific conditions of presentation inherent to each alter the logic of the museum space? How can the frameworks of meaning contributed by the museum transform these practices? It is in this mind frame that we suggest a program in which the concepts of performance and performativity are analysed on the basis of various proposals. Thus, not only the bodies will perform, but also the images, words and, obviously, the things.

In the definitions given by both Austin, and then Buttler, Derrida or more recently even Maurizio Lazzarato, the term performativity alluded to the linguistic, the identifying and the objectual. Moreover, in recent years, the concept of performativity has also invaded the political terrain. To such an extent that the events protagonised by the bodies of citizens in the squares of a large part of the Mediterranean Arc have been described as performances. And so it would appear to be important to rethink the contributions contemporary artists are making to this practice.

Over a series of six dual performance sessions and the workshop Open space Black Box / White Cube? Thinking about the periphery to be held in the Sala Pradillo in Madrid, we suggest cross-disciplinary encounters through a program of performances grouped into 6 sessions to be expressed around three axes: language, the political body and the performativity of things.

The acts of language: the cycle opens with the piece titled Black by Mette Edvarsen, who quite aptly constructs a series of objects through the spoken word and movement that allude to the blackness of the theatre. Those objects which, painted black, we find in any stage setting, deprived of all color. The artists participating in this block will work with the spoken word to create situations in which those present are accomplices in the construction of meaning.

The political body: according to Butler, the policy of «being together» or the «appearance of bodies in the square», represents an act of bravery by those who risk their physical safety in the simple act of re-occupying the public space, so frequently privatized. What role might bodies play in an impoverished public area in the midst of a crisis of representative democracy? How to deal with issues such as presence, representation and occupation through the work of dance and performance? Here it again becomes essential to rethink concepts such as the «people», «the masses», «the crowd», the performance of me and social choreography.

The performativity of things: the work of these artists revolves around the activation of objects that are apparently insignificant with the intention of triggering new layers of meaning that go beyond positivist materialism. Whether through the use of appropriationist strategies of Duchampian origin, or others closer to the surrealism of objects found, or those from situationist détournement, these creative acts focus on generating new ways of relating to our environment. But in this block we will not just talk about objects, rather we will delve into the meaning of things, those elements that go beyond the radical separation established by modernity between subjects and objects. Thus, things have the capacity to allude to abstract matters, but may also transport us to the world of animism, and naturally, the fetish. Therefore, performance would be that «thing» that refuses to be trapped.

Curated by Pablo Martínez

PROGRAM

THU 27 MAR IITZIAR OKARIZ / METTE EDVARDSEN

SUN 30 MAR TAMARA KUSELMAN/ GUILLEM MONT Y JORGE DUTOR

THU 3 APR AIMAR P. GALÍ/ BLACK TULIP

SAT 5 APR OPEN SPACE (TEATRO PRADILLO)

SUN 6 APR EVA MEYER KELLER/ TERE RECARENS

THU 10 APR PAZ ROJO/ MÅRTEN SPÅNGBERG

SUN 13 APR NORBERTO LLOPIS /RUBÉN GRILO Y SPIROS HADJIDJANO

Free entrance

Type of activity
Dates
27TH MARCH - 13TH APRIL, 2014
Intended for
Temas
Entradilla

In this cycle of performances, dance and theatre, we present a set of proposals that depart from the idea of performance as a discipline that expands and oversteps the traditional boundaries of not only the practices themselves, but also the conventional exhibition spaces and institutions dedicated to artistic practices.

Galería de imágenes
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
BLACK BOX WHITE CUBE
Categoría cabecera
CAJA NEGRA CUBO BLANCO
BLACK BOX WHITE CUBE
¿Es un ciclo?
Desactivado

The actor and activist Zahy Guajajara, the lead in the sci-fi trilogy and collaborator with Pedro Neves Marques in the exhibition YWY, Visions, is carrying out a performance lecture, laced with irony, in which she questions supposedly universal concepts from her own worldview.

In her own words: “UPAW – The End is a ritual with the intention of curing us of ourselves, intrepid, special beings that we are. The fact that human learning pretends to be superior to the learning of the rest of the world is an eternal tragedy. This is a ritual to reflect on what we have become and the world we have created. The end has come too soon.”

ZAHY GUAJAJARA

Zahy Guajajara was born in the Cana Brava indigenous reservation in Maranhão (Brazil). She currently works as a writer and a television, theatre and film actor in movies like Macunaima (2020) and Não Devore Meu Coração (2017).

Type of activity
Dates
Saturday 15 May 12:30 p.m.
Intended for
Entradilla

The actor and activist Zahy Guajajara, the lead in the sci-fi trilogy and collaborator with Pedro Neves Marques in the exhibition YWY, Visions, is carrying out a performance lecture, laced with irony, in which she questions supposedly universal concepts from her own worldview.

Actividades asociadas
Events
Categoría cabecera
Zahy Guajajara
UPAW (THE END) ZAHY GUAJAJARA
¿Es un ciclo?
Desactivado

 

What happens when you grow up with a genderless neutral language and then arrive in a country in which everything is gendered? How can we speak of identity when a language has already determined what is masculine and feminine?

This is what the young Iranian artist Sorour Darabi was faced with when s/he arrived in Montpellier to study dance. Her/his mother language, Farsi, has no masculine or feminine forms. French, on the other hand, constantly forced him/her to distinguish between male and female, even in her/his search for his/her own language of movement. Accepting a word thus became a physical test.

Darabi rebelled against this violent form of authority. Farci.e (2016) is an androgynous solo show that flirts with the boundaries of gender, language and sexuality.

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Sorour Darabi is a self-taught Iranian artist who lives and works in Paris. After working in the underground network in Iran, s/he went on to study at the Centre Chorégraphique National (CCN) in Montpellier, France.

With the support of:

Image removed.

Co-produces

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Type of activity
Dates
31 January, 2019. 20.00h
Temas
Entradilla

Los Teatros del Canal and CA2M are working together in a programme conceived to mark out a shared working space: the body understood as in permanent construction and, accordingly, in permanent conflict. For Sorour Darabi (Shiraz, Iran), the transition of his own body triggers a radical confrontation with the social body: transgender identity uncovers the power of language over bodies, but also the power of the body to threaten the conventions of language.

Subtítulo
SOROUR DARABI
Categoría cabecera
SOROUR DARABI
FARCI.E
¿Es un ciclo?
Desactivado