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APAB e.V. Conference „Curating Performance Art as an Artistic Practice“ Berlin, May 22/23, 2015
Everything in this program is subject to change!
Block
Speaker
Affiliation
Title
Abstract
Mail
WWW
Welcome and introduction.
[email protected]
joernburmester.de
[email protected]
florianfeigl.com/
Within the process of bringing artistic output in its exhibited
format, it is of great importance to examine the possibilities
and limitations of a more ‘active’ connection between
curator and artist, where the status of co-authorship
becomes the material for creation.
[email protected]
www.andreaspashias.com
www.epitelesis.com
Day 1
Friday, May 22
10.00 - 11.00
11.00 - 12.30
12.30 - 14.00
Welcome Panel
Block 1: Curating
as Collaboration
Block 2: Curating
Communities
Opening Remarks:
Jörn J. Burmester
APAB e.V., Performer
Stammtisch, MPA–B,
Berlin
Why are we here?
Keynote Lecture:
Florian Feigl
APAB e.V., Performer
Stammtisch, HZT Inter-University Center
for Dance, Berlin
Resistance – some thoughts
about aesthetics of
performance as art and how
those might effect making
and curating of performance
as art
Andreas Pashias
epitelesis, Athens
Curation as Collaboration
Hector Canonge
Itinerant Festival and
Collaboration in the time of
Performeando, New
Curation
York City, Performaxis,
various countries, South
America
"Collaboration in the time of Curation" takes the name from
the work of Garcia Marquez' novel Love in the Time of
Cholera. This performative lecture explores issues in
relation to curatorial or collaborative work in Performance
Art. The session investigates the role of the artist as
curator, and the work of the artist as catalyst, agent, and
promoter for collaboration. Where do the lines converge?
Can all artists be curators? Are there radical differences
between curatorial and collaborative work? Does collective
work involve a type of curatorial process?
[email protected]
hectorcanonge.net
Rebecca
Exist Festival, Brisbane/
How/does the curation of performance art becomes an
artwork unto itself
imagining, shuffling, making, living, realizing, merging
mingling
sweat, blood and tears (and often lots of other fluids)
until dreams are dragged into reality
existenceperformanceart.wordpress.com
Manchester
Curating performance art
and/or making plaster of
paris with your grandma collaborative curating
cultures
[email protected]
Cunningham
Ellen Friis, Henrik
liveart.dk, Hitparaden
What is liveart.dk?
liveart.dk
Festival Copenhagen
During the last 10 years we have organised and presented
about 200 works of performance art in Denmark. How do
we work with artists and use artists for our purposes?"
[email protected]
Vestergaard Friis
Nick Anderson,
Buzzcut Festival,
Glasgow
How can an event
strengthen a community?
How can an event strengthen a community? Who is the
community? Where is the balance? How much money do
we have for gaffa tape? Can you do this every year? Is this
our practice? How are you feeling today?
[email protected]
glasgowbuzzcut.wordpress.com
Unwrap the Present,
To practice, to share the
practice and to practice the
sharing of the practice...
The need to practice, to share the practice and to practice
the sharing of the practice...
[email protected]
www.unwrapthepresent.blogspot.ch
CAZ will describe its nature as an artist led project space,
its ethos coming out of that culture its work to date and
informally perform its ethos over lunch.
[email protected]
www.cazart.org.uk
The curators of the performance art festival „CREATurE
Live Art“ in Lithuania will present the cultural background
and circumstances in which festival was born. What
motivation caused them to choose an educational direction
and how each years theme is shaped in order to choose
particular participants.
[email protected]
[email protected]
http://creatureliveart.lt/
Rosana Cade
Joëlle Valterio
Bern
14.00 - 15.30
15.30 - 16.45
Lunch Performance Presentation
Andrew Whall, Ian
Cornwall Autonomous
Cornwall Autonomous zone:
Whitford, Rebecca
Zone, Penzance/UK
Artist Led Projects, Ethos,
Block 3: Curating
and/as Education
Daina Pupkeviciute, CREATurE Live Art,
Weeks
Vaida
Tamoševičiūtė
and Approach
Vilnius
Educational tendency in
performance art festival.
CREATurE Live Art
Lithuania.
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APAB e.V. Conference „Curating Performance Art as an Artistic Practice“ Berlin, May 22/23, 2015
Everything in this program is subject to change!
Block
Speaker
Title
Abstract
Mail
WWW
Performance art in the force
field of on- and off spaces
“Jazz is not dead, it just smells funny”—thus a 1974 bon
mot by Frank Zappa commenting on the academization of
jazz. Jazz, he said, had become more complex but also
more complicated, loosing its “groove.” Where it smells
funny, the stench of death may soon follow. Does
performance art face a similar fate following its growing
academization and institutionalization?
[email protected]
www.malyschilliger.ch
www.bone-performance.com
http://www.hkb.bfh.ch/macap
Camilla Graff Junior MPA–B, Crossing
Contexts, Berlin
Crossing Contexts 2013 2015
The first edition of Crossing Contexts was on gender, the
second on autobiography and the 2015 edition is on not
knowing. The program has consisted of workshops,
performances series and interventions.
[email protected]
www.mpa-b.org/12-may-2015.html
www.facebook.com/pages/Giraff-Graff/
139030909492015?ref=hl
www.nsuweb.net/first/html/
Hannes Egger
Artist, Lana/Italy
Web Performence today
The book investigates what has now become of the
performance in the collective world of imagination of the
web: How do video channels like YouTube handle videos
and what does it do with them?
[email protected]
hannesegger.com
Joël Verwimp
MPA–B, APAB e.V.,
Berlin
Ethics and the Importance of
Time Traveling
The presentation departs from the notion that our individual [email protected]
cosmos reaches well beyond our lifespan and carries traces
from previous generations in the distant past. Kim K. Atlas
and Serafina Lampion are two (both, in their own right)
canonical figures who operate in such an objectcentred
world without any external justification for what they do. A
world, without human destiny “an sich” where the curator
has nothing to offer but a dematerialised space, and the
public (Publicness) is just an internal third point of view.
The central question is, how the performed ‘figure’ (the point
at which figuring coalesces into a recognizable form) might
be a system of notation in and of itself? Or, put differently,
how this figure, understood as a field of possibility in which
multiple forms of “belonging in difference” adhere to a
“belonging in common”.
Randy Gledhill
Vancouver
A Few Dozen Thoughts on
Performance Art in 2015
What has performance art become?
What defines bad or good performance art?
How can artists sell out if there is nothing to sell?
If there is no possibility of success, why is there fear of
failure?
When was a performance art establishment established?
Who was the first performance artist with grey hair?
What is performance art pedagogy?
…
Valerian Maly
Affiliation
BONE Festival Bern,
Hochschule der Künste,
Bern
16.45 - 17.00
Break
17.00 - 18.15
Block 4: Curating
the Archive
18.15 - 18.30
Special
18.30 - 18.45
Break
18.45 - 20.00
Plenum
Planning Working Groups for
Day 2. AND: Open
discussion. Spontaneous
performances. Various
contributions. Criticism.
Praise.
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randygledhill.wix.com/randy-gledhill
www.facebook.com/joel.verwimp
APAB e.V. Conference „Curating Performance Art as an Artistic Practice“ Berlin, May 22/23, 2015
Everything in this program is subject to change!
Block
Speaker
Affiliation
Title
Abstract
Mail
WWW
[email protected]
ilyanoe.com
Day 2
Saturday, May 23
10.00 - 11.30
Block 5: Curating
as Collaboration 2
Ilya Noé
MPA–B, UC Davis,
Berlin
Cor(rog)ating
ErogateSurrogates
For the last three editions of MPA-B, I’ve been inviting
artists to present their work under one condition: that they
trust other artists to perform it on their behalf. The protocol
is simple: in the months, weeks or days leading up to the
performance, the invited artists – a.k.a the erogates – share
materials relating to the piece with their appointed proxies
(surrogates) while keeping journals and detailed records of
all the exchanges.
As curator (corrogate) of this experiment which can be
described as an attempt to trouble the ethos of artistic
autonomy and originality by exploring and evidencing the
ways we co-create with and are co-created by "the other", I
am particularly interested in attending to the particular
strategies and synergies that every “pair of three”
generates, as well as the extent to which erogacy and
surrogacy (and corrogacy for that matter) are not separate
roles, but rather different stages of all creative processes.
Cor(rog)ates become erogates become surrogates... and
are all simultaneously givers and receivers, hosts and
guests, entrusters and trustees...
Thomas John
Tempting Failure
Bacon, with FK
Festival, Bristol
Evolving a curatorial
practice.
[email protected]
Thomas John Bacon is a performance artist who has
evolved a curatorial practice as the artistic director of
Tempting Failure, an annual festival of Performance Art and
Noise Art in the UK that to date has exhibited over 110
artists from around the world. TF foregrounds a dialogue for
artists to challenge preconceptions, take risks, and
celebrate the investment they make in their unique & often
difficult practice.
www.temptingfailure.com
www.thomasjohnbacon.com
http://fkalexan.de/r
Business Report
KBB - Künstlerisches Bedarfsbüro (Office for Artistic Needs) [email protected]
is a nomadic care and community project dedicated to the
spontaneous development of ephemeral strategies of
artistic care, collaboration and linkage. KBB temporarily
settles down in specific contexts of artistic production to
take care for and to assist the needs of artists, exploring
grievances and providing spontaneous solutions for all
kinds of emergencies. KBB is an art project. KBB will
present, document and possibly celebrate the results of our
explorations and interventions. In any case, KBB will come
to a conclusion.
www.harder-schultz.de
www.marie-aliceschultz.weebly.com
www.joyharder.de
Alexander
Joy Harder, MarieAlice Schulz
KBB - Künstlerisches
Bedarfsbüro, Berlin/
Hamburg
11.30 - 13.00
Working Groups
13.00 - 15.30
Lunch
Joseph „Pepe“
Patricio
Nowhere Kitchen, Berlin Lunch as Collaboration
15.30 - 17.00
Block 6: Curating
is my artwork
Brian McCorkle,
Panoply Performance
Esther Neff
Lab, Brooklyn/NY
Willem Wilhelmus
Frank Homeyer
nowherekitchen.com
Embarrassed of the Whole
#11: Curating as
Performance Art Conference
Curation is intentional selection and cultural preservation.
By gathering, framing, and rearranging opinions of the
conference attendees input online, we curate ideation into
an objectified, digitalized, preserved, exhibited, historicized
curation-as-artwork.
[email protected]
www.panoplylab.org
Mother’s Tongue, Fake
Fins, Helsinki
What Fits Me
Choices of space, format and artists are very comparable
with choices made for a new piece of art work - in the art of
curating the artists are the material used. I would never use
material that I have no connection with.
[email protected]
www.willemwilhelmus.com
www.newartcontact.net,
www.motherstongue.net
APAB e.V., PAErsche,
Curare
[email protected]
no-way-to-utopia.de/
Berlin/Cologne
17.00 - 17.15
[email protected]
Pause
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APAB e.V. Conference „Curating Performance Art as an Artistic Practice“ Berlin, May 22/23, 2015
Everything in this program is subject to change!
Block
17.15 - 18.45
Block 7: Curating
Spaces
Speaker
Affiliation
Title
Grüntaler 9, APAB e.V.,
Lorena Lo Peña,
ElGalpon Espacio, Lima
Jorge Baldeón
Pause
Plenum
WWW
[email protected]
performancespace.org
benjamin-sebastian.com
How To Do (Things)
[email protected]
Teena Lange, performance art curator and co-founder of
grüntaler9 – a space towards the perfomative, will talk about
the concept of the space, it’s approach and research, being
a platform for (performance) artists in Berlin. Diverse
theories and practices towards the performative are
investigated, questioning the multiple contemporaries,
originality, authenticity and authorship. The special focus of
this Speech Act will be the recent performative installations
and aesthetics regarding the project “Resistance &
Resilience ::::::::: Do I do?" initiated together with the
Panoply Performance Laboratory and Dolanbay, taking
place during MPAnthology 2015.
The challenges of managing
and curating an
interdisciplinary independent
space-laboratory project in
Lima, Perú,
'elgalpon.espacio Cultural
Association'.
In this talk, Lorena Peña and Jorge Baldeón, co-directors
and curators of the laboratory-space project
'elgalpon.espacio' will share, expose and ponder about the
challenges in producing, curating and sustaining their
project, contextualizing Lima's local performance art scene
and the Latin American performance circuit.
MPA–B, Berlin
19.00 - 20.00
Mail
London
Teena Lange
18.45 - 19.00
Abstract
Benjamin Sebastian Performance Space,
www.gruentaler9.com
www.facebook.com/gruentaler9
https://www.facebook.com/events/
434423180053418/
[email protected]
[email protected]
elgalpon.espacio.pe
elgalpon.espacio.pe/blog/
www.facebook.com/elgalpon.espacio
[email protected]
totalartjournal.com/mari-novotny-jones/
[email protected]
poppyjackson.co.uk
t-p-p.tumblr.com/
[email protected]
www.asa.de/
Reports from the Working
Groups.
Durational
Performance
Mari Novotny Jones Mobius, School of the
Boston Museum of Fine
Arts, Boston
Anoint
Paper
presentation
Poppy Jackson
Transatlantic Performance
Practice
Wild Card
Boris Nieslony
Performance Space,
London
London-based performance artist Poppy Jackson will
discuss her recent research into the feminist performance
scenes of Chicago and New York during her British Council
and Arts Council England Artists' International Development
Fund project Transatlantic Performance Practice, and the
resulting week-long performance event she is curating in
Upstate New York this summer.
ASA Art Service
Association, PAErsche,
Cologne
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