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This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
Opening night of I CAN DO THAT, an interactive art show created and independently curated by Jenny Lam. Named the audience choice for 2012's "Best Art Exhibit" in the 20th anniversary edition of NewCity's Best of Chicago issue.
Photo by Sophia Nahli Allison.
More info at artistsonthelam.blogspot.com/p/i-can-do-that.html and artistsonthelam.blogspot.com
IMPROVISÕES
O “Improvisões”, um dos projetos mais experimentais da cena artística belo-horizontina, chega à sua quarta edição apostando, mais uma vez, no improviso e no relacionamento sem hierarquia entre as mídias corpo, imagem e som.
Neste ano, o Teatro Marília recebe os núcleos de artistas selecionados por edital e responsáveis pelas apresentações, além de um fórum, aberto ao público, com a presença de importantes representantes do tema do projeto no cenário nacional. O Teatro Marília fica na av. Alfredo Balena, 586, Santa Efigênia. Toda a programação tem entrada franca.
APRESENTAÇÕES:
Artistas de mídias heterogêneas aceitam o risco de, diante do público, buscar o improviso consistente, sem que uma mídia se sobressaia, mantendo, assim, uma relação não hierárquica entre as áreas de corpo, som e imagem. Desta maneira, as apresentações conectam a performance, a tecnologia, a criação espontânea e a materialidade cênica.
Na segunda-feira, dia 1º de setembro, às 20h, dois bailarinos, Peter Lavratti, (Grupo Corpo) e Cláudia Lobo (Quick Cia. de Dança), mais uma equipe de imagem, composta por Nara Vargas, Marina Utsch e Débora Pessali, propondo captações, edições ao vivo e projeções, juntam-se a um ‘power trio’ com pegada punk, formado por Wesley Cristiano, Gilmar Gonçalves e Leandro Oliveira. O resultado, imprevisível e único, será vivenciado pelo público presente.
O segundo núcleo a se apresentar, dia 3, quarta-feira, reúne Paulo Rocha e Diogo Ribeiro, do coletivo [conjunto Vazio], Tatu Guerra, artista plástico e videomaker, e o compositor Philippe Lobo.
Já na sexta-feira, dia 5, o trio conta com a bailarina Lívia Rangel, do Clube Ur=H0R e Zikzira, o artista plástico Elias Mol e o músico Thiago Correa, ex-baixista da banda Diesel.
Finalizando as apresentações, que sempre acontecem às 20h, a performer Christina Fornaciari, o videomaker Alexandre Milagres e o compositor, pesquisador musical e percussionista Babilak Bah, são as atrações do dia 7 de setembro, domingo.
Extrait de la performance-installation de Indira Tatiana Cruz et Alexandra Loewe autour de la nouvelle "Mademoiselle O" de Vladimir Nabokov, à la galerie Mamia Bretesché, dans le cadre du colloque international "Vladimir Nabokov et la France" organisé par la Société Française Vladimir Nabokov "Les Chercheurs Enchantés"
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
FILE MAGAZINE VOL 4 NO 2 (FALL 1979) alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine – published from 1972 to 1989.
FILE magazine Fall-1979 General Idea -LIMITED ED. Art Publication-VERY RARE
General Idea: FILE megazine, vol 4, issue 2, fall 1979 (the “Special Transgressions” issue), edition of 3,000 copies.
FILE MAGAZINE VOL 4 NO 2 (FALL 1979). Toronto: General Idea, 1979
35 X 27.5cm, 66pp plus pictorial wrappers. A single number from General Idea's art periodical where the trio published conceptual, mail and intermedia art including the GI's own work - often with a homoerotic element. This number has GI's "Billy wears a moustache at the Colour Bar Lounge" and several articles on/by David Byrne, Stephen Lack, Jean Genet, Jimmy DeSana,Kathy Acker and Robert Mapplethorpe. One slight crease on the front lower-right corner and spine wear and, as ever, browned internal newsprint pages else VG+. Scarce.
1979
FILE Megazine ("Special Transgressions Issue," Vol. 4, #2, fall 1979)
The first issues of FILE, the publication launched in April 1972 by the Toronto-based group General Idea (comprising artists AA Bronson, Felix Partz, and Jorge Zontal), leave a different, less sober impression than previous magazine-based Conceptual art projects. Lifting its name and logo from the most famous (and popular) postwar US glossy, Life, FILE clearly anticipated a strategy that today is an everyday youth-cultural ploy: namely, logo-busting, an ironic game with the powerful markers of consumer culture, a small act of semiotic subversion whereby one borrows power from the public side of capital--and momentarily uses it against itself.
For the better part of a century artists have been using the format of the periodical to create and disseminate their work. Yves Klein’s Leap Into the Void, another iconic work, was published in the artist’s broadsheet publication Dimanche, which was sold at Parisian newsstands in 1960. Artists' magazines were integral to numerous important movements, such as Conceptual Art, Mail Art, Performance Art, Intermedia, Concrete Poetry, Neo-Dadaism and Fluxus.
The name Fluxus was originally coined by George Maciunas for the title of a magazine of experimental notation that he had hoped to produce.
For the uninitiated, a simple distinction suffices: the “artist periodical” is a primary source and an “art magazine” is a secondary one. That is to say, whereas an art magazine features reproductions and documentation of artwork as illustrations, the artist periodical is an alternative site for the realization of art works rather than their review.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
The pride of Mason County, Wood Paneling rocked the garden gnome and other sundry instruments at the 17th Annual Olympia Experimental Music Festival on Saturday June 11th at The Northern.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…