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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…
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…
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…
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…
29 MAI 2015 - 3 JUIN 2015
rencontre performative avec : Allyce Arsenault, Miri Chekhanovich, Marc André Goulet, Soleil Launière, Mélodie Talbot et Catherine Tardif, avec la collaboration de Caroline Gravel et Karina Iraola
Les 29, 30 et 31 mai 2015, au parc des Faubourgs rue Ontario Est (coin Dorion), de 17 h à 18 h, beau temps, mauvais temps.
Finissage à la roulotte de DARE-DARE, le 3 juin 2015, de 17 h à 21 h.
*DARE-DARE est maintenant situé face au marché Atwater, sur le triangle formé par les avenues Atwater et Greene et la rue Doré à 5 minutes à pied du métro Lionel-Groulx.
« La création amène des réponses à la vie sans qu’on connaisse trop les questions » Allyce Arsenault
MARGE est le second volet du projet RÛE initié à l’automne 2014. Ce projet consiste en une série de recherches sur la rencontre, le dévoilement et la dilatation du temps.
MARGE est un projet avec des jeunes qui ont fait des choix marginaux et/ou des jeunes marginalisés. Jeunes et artistes performeurs/danseurs se rencontrent, se lisent, se disent et se livrent, sur la rue, en de petites bulles performatives dans lesquels les passants sont invités à entrer.
Dans sa pratique, Aurélie Pedron explore la rencontre entre le corps et la matière et développe une réflexion sur le rapport au public et au lieu. Elle oriente ses recherches vers l’installation et la performance. Aurélie aime considérer le corps comme un vecteur, un révélateur d’images invisibles.
Voir le projet RÛE.
//////
Aurélie Pedron s’est installée à Montréal en 1999. D’abord titulaire d’un baccalauréat en danse à l’UQAM, elle a ensuite complété en 2013, une recherche/création à la maîtrise sur « L’émergence en création ou l’anti-héroïsme du créateur ».
À ses débuts, elle réalise plus de 10 œuvres vidéo, diffusées dans plus de 14 pays : en Asie (Japon, Inde, Corée du Sud, Taïwan...), en Europe (France, Grande-Bretagne, Allemagne...), en Amérique du Sud (Brésil), en Russie et aux États-Unis. La scène garde cependant une importance fondamentale. Ses solos ont été présentés à Tangente, au Studio 303, à la SAT, aux Ateliers Jean-Brillant et au Blinding Light à Vancouver.
Avec la création de CHAIR en 2011, Aurélie Pedron conjugue, par le biais du circuit fermé, la scène et la vidéo. Avec la création de Corps caverneux (soutenu et diffusé par Tangente et Danse-Cité en 2013), elle poursuit sa quête de rencontre entre corps et lumière. Elle a également collaboré avec la compagnie de théâtre Odelah Création en tant qu’interprète et vidéaste.
En avril 2013, elle fonde sa compagnie de création Lilith & Cie, avec laquelle elle explore la perméabilité des matériaux et le rapport privilégié au spectateur qu’offre la nanoperformance. Son travail a été présenté au Festival de Théâtre de Rue de Lachine, ainsi qu’au FNC. Sa dernière création ENTRE, nanoperformance sur le thème de la rencontre, est présentée à Tangente lors de la saison 2014/15.
Aurélie travaille présentement sur LA LOBA, une installation performance avec 11 femmes et quelques loups, SAPPHO est un projet sur l’érotisme qui se veut ni choquant, ni vendeur.
Le projet MARGE bénéficie d’un soutien du Conseil des arts du Canada.
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…