September 10^th & 11^th  2010

MIDDELHEIMMUSEUM ANTWERP

OPENING and PARTY on Friday September 10^th 2010

19h - 21h: OPENING: castle Middelheim

Performance by Mikes Poppe

21h - 02h: PARTY: circus tent / bar

DJs Lieven Segers and Peter Verwimp aka The Sorry Sex Partners

LINE BOOGAERTS, LIEBERT DE BLESER, SVEN GOYVAERTS, KATIE LAGAST, ULYSSES OST, LAURENCE PLUMIER, MIKES POPPE

ERROR #16 is a two-day exhibition and ERROR ONE party in light of Monument Vergara : the installation : 'La vie d'une oeuvre d'art' by Angel Vergara in the expo Nieuwe Monumenten in the Middelheimmuseum in Antwerp. For the ERROR ONE project, young artists are showing videoworks, paintings, installations and performances inside the stately Middelheim castle. The party itself will take place at the very centre of Monument Vergara, a circus tent / summer bar;

the epitome of a lively and momentary site of encounter. Angel Vergara has put the circus tent / bar aside the castle.

ERROR #16 puts entertainment next to experimentation and seriousness. Or is it the other way around?

The exhibition is open on Saturday September 11^th from 10h until 19h, running simultaneously with the expo Nieuwe Monumenten in the Middelheimmuseum.

INFO:

September 10th 2010 from 19h opening exhibition castle Middelheim

September 10th 2010 from 21h party circus tent / bar

September 11th 2010 from 10h to 19h exhibition castle Middelheim

Entrance to Middelheim via small parking at Middelheimlaan 63, Antwerp

Free admission to exhibition and party

info@errorone.be

www.errorone.be

Bergson writes about  

"la politesse comme l’amour de l’égalité, une passion profonde pour la justice"

Niiiice, noooo?

Sunday. 6 thirtynine am. the tour of the curch in front of the window. blur juxtapositions of bird singings through the opening. sudently many blue question marks all over the screen. internet connection went down, off. don't refresh.  

I am wondering how could i change the meaning of an image by including odour.

 During the 1st block i was researching using different approaches: anthropological, philosophical and scientific to widen the ground of my research and get more aknowledgement  about the role and the fonction of the smell.

 I was  focusing more in anthropological know-how  of sensory, more precisely how the smell is related, directly or not, to certain trade (ref: Mémoires et expérience olfactives, anthropologie d’un savoir-faire sensoriel. Joël Candau)Putting my daily self-experience with smell on the side i wanted to know how nostrils can play a prior role in the professions that are directly linked or not with scent.For example where the perfumer will explore the whole olfactive space, the oenologist will interpretate the odour in order to get informations about the evolution of the wine and the fireman will select all smells that, in a short time, can be integrated in the global apprehension that he can have of a disaster.This knowledge and know-how are acquired most of the time without thinking about it, implicitly, just by doing daily cognitives tasks according to the job. The distinction between two poles of dealing with smells in professions emerge: on one part working with smells (perfumer, oenologist…) and on the other interpretate it (nurse, fireman…) In the second case the interactions created by sharing informations will help to define words and build a common vocabulary around this sense. The smell has the reputation to be discreditate also because we don’t have enough words, distinctions, language subtilities to share our perception without being too subjective or not understood.

 Sharing smells, sensations would be a way to materialize molecules.

 There is always more to smell than what comes in the nose, this “more” can be either associated to idiosyncratic reaction and social and cultural determinations.Working on the categorization of smells, sociological aspect of smells and also create a dictionnary that has to do with “smell in performance” are the points that i would like to develop in the next blocks…

 In the video bellow i’ve edited a meeting with Corinne Caufriez that is assisting the director of  groupe GENES. I’ve been doing olfactive tests that have been done last year during “ la fête de l’environnement” in Brussels and got to know more about the activities of this ASBL giving their olfactive abilities to help citizen….The second part of the video is the beginning of an experiment about the construction and the categorization of smell. I went on the street and i’ve asked to people 2 questions, giving them the video camera, living them free to focus and frame smells…

play in full screen HD

Brus and Mühl participated in the "Kunst und Revolution" (Art and Revolution) event in Vienna, issuing the following proclamation:

... our assimilatory democracy maintains art as a safety valve for enemies of the state ... the consumer state drives a wave of "art" before itself; it attempts to bribe the "artist" and thus to rehabilitate his revolutionising "art" as an art that supports the state. But "art" is not art. "Art" is politics that has created new styles of communication.

Before starting apt:

My research started as an ¨experiment¨ that was influence by my kibbutz. The experiment: A group of artists will shape a single performer - me.

In the application I suggested an ¨experiment¨ of 10 steps. During the process collective interventions, discussions and voting were the main ingredients to reach decisions.  ¨The artistic environment will be used as a tool to study social behavior. The interaction within the social reality, the ¨real life¨, will be then the main aspect for arriving at a creative result where the ¨artistic¨ and the ¨real¨ will be interdependent of one another.¨ Why to choose ¨me¨ as and individual? I am an example, an out come of another attempt that failed to reshape humanity in an Utopian manner.  I am my research object, so I want to disconnect from being attached to ¨me¨ personally. I am observing my reactions to the one that observe me and I observe the observer.  I am the observer of my reactions to the relations I establish. 

I started by reading the basic historical rules of the kibbutzim movement. I also read documents describing the struggles people had trying to define how to live an utopia in the real world.

I spoke to the person (nachshon Golds ) that few years ago had a court case against the kibbutz movement. He claimed that he was a part of an experiment which as a child could not refuse participation and that he is mentally damaged by it.

Starting apt:First week.

Already after the first week of overwhelming, sometime speechless, interactions, my approach to my ¨experiment¨ started to crack. I experienced again group discussions. I have to admit, much more intellectual then in the kibbutz where I grew up.  One group discussion was particularly influential. It was about: paradox. Thus as a result I was wondering: do we need oppositions at all? I started to reflect over the way opinions and assumptions are exchanged and form them selves. In that period I spoke to Piet Joostens about communism. We spoke about the democratic elements of elections, voting and the representation of the majority. It finally register to me that those are all tools of empowering and control and are in contradiction to my life travel of seeking communication, so why should I manifest them again? I realize that my ¨experiment¨ has to change. I have to discover the underworld of decision-making mechanism.  Why do we discuss, give opinions and let the majority decide? Then language, once more appeared to be the focus of my imagination.  If the juggler of speech becomes the representative, ¨the majority¨, in a process of discussion, how can the hidden messages come to life?  How can language become a more equal landscape for us to travel on, with out restricting variety of expression?

By reaching those shores of understanding I found out many great people were and are dwelling on the same matter.

Reenactment work shop

The prominent aspect of the workshop personally was the beautiful text of Peggy phelan ¨The anthology of performance¨. The other , the woman,  minority, the invisible with in the representation of the western cultural world, all those terms assembled into a performative depiction. The invisibility became a potency of structure flexibility. Performance is an example of a construction which can never be copied. Every repetition or documentation of it creates a new set of reciprocal events of exchange.

The context of reenactment has a significant roll in my research. It emerged out of the necessity to reexamine the collective decisions mechanism that had a dominant impact on my life as a Kibutsnik. As a result I was playing with the idea of launching myself back to the kibbutz and reenact with the remaining inhabitants a cultural event. That event should have a particular connotation between the historicity of the place and the current affairs.

Workshop collaboration - nicolas y galeazzi

The encounter with Nicolas and the display of potentials in portraying the collaboration discourse were a big shift in understanding my research. I realize that by departing from my authentic artistic circumstances I entered in to a realm of political and social perspectives and influences.

We examined collaboration according to economical development and political consequences. Some of the texts we read had a significant influence. For example:

Jacques Rancière : The Emancipated  spectator

¨an ignorant could teach another ignorant what he did not know himself¨

The collective performance is a  performance that is not a product. It is a chain of interaction that allows people to exchange and influence the creative moment, not only to consume it.

Florian schneider : the term collaboration originates from operating with in the enemy structure. According to that the outsider is the one ¨that will manage to add critically to pre-established power relations of expertise¨ (Markus miessen) 

 Bojana Kunst write about reexamining the protocols, the script , the set of rules. By acknowledging the protocols the artistic process can find the ¨virtual spaces in between¨ to operate.  ¨Inter territorial spaces , in which connection among many different cultural, historical and artistic experiences are at work.¨ ( Bojana Kunst)

The major focus, in my eyes, of the workshop was capturing art as a direct and allusive field in the relation to economical political structures. What is my position concerning collaboration as a social reference? What would I want to enhance in the complexity of reflections between the individual self and the value of a collective assembly?

Some of the aspects that came to display were: decentralization, delegation, changing rolls constantly in the decision mechanism, lost of authorship oppose to branding oneself, micro relationship to distribute understanding with in the group, gathering people like thoughts, to detached from identification to a project, anonymity or ignorance as strategies of coming together, anti-hierarchical, anti-dialectic, anti- representative.

Reconfiguring my conceptions:

-Looking for methods of discussions as game format to generate symbiotic interactions.

-Investigating composition of adding information and opinions instead of dialog of disagreement.

-Approaching the experiment as one body of negotiations and create a framework where people can join in.

-Create a space between the object of discussion and personal identification. The accent is not on personal outlook but on changing perception.

-Merging in to collaboration by tolerating distinctions, diverse voices to coexist.

-Changing rolls thus everybody play all sides of the game. By that diminishing the success of the I. 

Out of all those recognitions and after a mentoring talk with dear Nicolas the configuration of ¨give me a piece¨ appeared. It was a new dimension in the process that interdicted another approach: Open up the experiment to make a piece with the ¨whole world¨. To divide a performance to its elements: movement, text, surroundings, music, light and so on. I will ask people to give me information concerning one of those subcategories of a performance. I will create all kind of systems of interaction. Can be a discussion or an action with one or more participants that as a result I will have an aspect of a piece. I will constantly bring the aspects together and reshape the piece according to new interactions.

The points of reference were:

-How to realize the elements of a piece with the others?- how to invent new impute and a flexible structure of generating material- me as an empty container – how to define through the others my own thoughts?

city of illusion

Project Description:

Violence has been the way of expression of the man kind for ages. In this work we are trying to investigate fights the most simple form of human aeration and incorporate it in to a movement theater. We are dancers, each from different cultures, backgrounds and experiences in dance, but still curious about exploring movement together, still trying to communicate on different levels.

The first phase of the project was a residency in Vienna at Dans.Kias studio were we where researching some ideas together with other dancers. Abhilash Ningappa then continued to develop the ideas with dancers in India and other countries. As a collective we now want to continue this process towards a further research and production.

We aim discover different approaches to what means fight for us in a daily process, each bringing in his or her own dance-background, but also skills from other art forms as Karate, Kung fu, singing or Acting.

On one hand we work on the technique, how to handle a fight situation, we aim to create Partnering phrases with attack and defense movements. Our focus lies on the real situation in which you need to defend yourself. As dancers we research, how to do this, while it’s not so important to follow the exact rules of one specific Martial Art, but to use whatever could help us as strategy to get out of the situation where somebody tries to force us to stay in.

On the other hand, researching the real situation of a fight makes us question, what the term fight actually means. When does a person start to fight? Where does the confrontation get so dangerous that we call it fight? Is the point, where the person is still thinking and mentally handling the situation, a real fight? Or does this real fight start when the real fear comes, in the moment where you’re conscious self reflection stops; the body saves its energy and just reacts as fast as possible?

Working Method

The work is based on physical as well as ideological exploration of fighting situations, confrontation in between two bodies so two people and two forces.

Body preparation:

Basic Exercises from Kung Fu, karate and kalaripayattu (mostly focusing on training reflect, speed, different qualities of movement, concentration and coordination) - Intensive body work; yoga, breathing exercises including pranayama,- Working on the mobility of spine, exercises based on Axis Syllabus and Feldenkrais methods.

Description of the physical tasks during our first residency:

We were working on physical tasks and exercises which are based on techniques used in martial arts. During the process we were also composing improvised fighting sequences which were the combination of forms used in partnering and Contact Improvisation. Nevertheless it was all our creative work and exploration. One of the exercises which had the biggest impact on our understanding of fighting situation was about creating a situation in which one person is limited in the movement but still trying to escape from attack. The task was very physical because attacking person had to create almost maximum limitation. This situation was a starting point of fighting, arriving in the moment were there is no more freedom to move. Used force and limitation are evoking the physical and mental reaction. Dancers who are fighting in couples are going through different stages of feelings and emotions; often they have to face their own borders. It is a very rich and deep experience and getting even more intensive when partners are trying to escape from each other. Exploring physical reaction on situation where people are getting close on the fighting field is raising lots of question that appear in mind:

Am I enjoying being close before fight, what exactly do I feel? Where are my borders/limits? When and why do I want to escape or when and why am I enjoying fighting the most? Why am I curious about the next move even though it seems to be difficult to defense or attack?

We physically induce situations in which we experience the real necessity for defense. The moment of not having another chance but to fight is created for example by lying under several persons who don’t let you move. This specific physical state evokes a strong emotion, which makes you panic and concentrate all your energy to the single goal to escape, or as another reaction to attack. With experimenting the overload of a body with physical manipulations we experience the state of the “mindless” body.

We also ask for the situations in which we fight. In which relation the fighters stand to each other, which physicality do they use?

Is the voice a fighting instrument? By practicing Voice exercises we find out how to use the strength of voice and how it can affect the appearance in a fighting situation.

Another approach we work on is given by questioning our awareness: What do we perceive as fight? How is the body moving so that we call it fighting – maybe also fighting with itself? And finally the question arises : Where does the need for attack actually come from? What brings the peaceful person in the state of attacking?

Another very interesting aspect of fighting situation is concentration. Concentrating might be perceived as an action of coming into deep dialogue with your body and mind. Being able to arrive in a different state of mind is helping to be calmer in fighting. Sometimes the calmer is your mind the more alert becomes your body. In danger, in confrontation we tend to wake up senses very fast. Another exercise which is worth to mention was helping the dancers to reach a deeper state of sensation and awakening senses. Dancers were working in couples where one person was a leader and another had to follow the instructions so given directions of movement with closed eyes. That helps to develop trust or experience the lack of trust, to become more alert. Bringing another person into “unsure” is the most efficient way to awake the senses. The last exercise I want to describe shortly has a lot of potential to be interpreted and explore in a different contexts. It might even explain the social aspects of fighting situation.

Dancers were standing in front of each other in a distance and slowly moving to each other. From the moment they got closer, they were coming into “hug”. In the “hug” one person always tried to stop another, create limits, even to be annoying so that the other person was truly wishing to escape. That exercise was very physical and intensive, sometimes evoking states of aggression or fear. This fight was turning into longer improvisation which was developing into different directions. It was traveling between the moments of high physical intensity through softer dance. Such improvisation is like a constant dialogue. It might be a nice picture/metaphor of the situations when people somehow cope with each other. It is beautiful to observe that in dance. From my point of view dance is just reflecting us… How we deal, how we are in dance or in fight usually tells a lot about how we are in everyday life but also it is interesting to play with it!

Social aspects of fight

During the process we were also discussing a lot about different state of body and mind in the moment of confrontation. We were mostly trying to understand the reasons of fight, the way of behaving in fight, some reactions in body (conscious and unconscious) emotions that appear, reaching the state of calmness, acknowledging the power.

Conclusion

Fighting appears on a different platform of our life. You might say that it starts from the moment we open our eyes every morning because sometimes we have to fight tiredness or particular mood in order to start a new day. There are some days in our life when we are fighting like mad. Fighting for rights, fighting for love, for life for the things we carry the most. We never want to loose, rather be always ready and prepared, feeling strong enough to handle the difficult situations. How beautiful it is not let the nerves take over! In order to get familiar with the state of calmness we might want to build our inner strength. To do this we should get familiar with the state of fight, start to explore the situation of confrontation more deeply. It helps to understand ourselves more, to be able to recognize our limits. And finally to be able to survive in the wild world which might give us an impression of beautiful heaven but we never know when and how will disappoint…

For us it’s always interesting to explore various situations (in that case fight) through physicality. It requires mature approach and openness for the new situation especially when a person doesn’t come from a martial arts background. Trying to understand the nature of the fight leads us to different approaches of this situation. It was worth to explore and experience that in this movement research because I realized that fighting is a beautifully powerful dance and a constant game. Why do we play? I think each has a reason…

Project Motivation:

What we are interested in is looking at an interdisciplinary approach to dance. Rediscovering both martial art and contemporary dance through each other. The martial arts is predominantly seen as aggressive or brutal but if you see a real master you see the calmness, they are like dancers, they move at the right place right time. They breath, they stay still, grounded they are soft movers. Both these fields offer a completely body centric approach, knowing your body, knowing the space around you, letting your breath move your body and explore.

Attack

Counter attack

Defend

Reach out

Stay

Walk away.

Space becomes as alive as the body throbbing with absence and presence, being cut, sliced, made whole again with bodies in it, out of it. Time is an integral part of both these disciplines and more so in the martial arts. It’s a fight, a fight where your body is your weapon as well as your armor. A wrong step or a wrong move can be fatal. It is interesting to apply this to dance, to see your other dancers as opponents. Martial arts presuppose a fight between good and evil. The bad guys and the good guys those are available in most movie genres. The protagonist and the antagonist propelled by their own desires, their own ambitions. Life isn't so clear cut and dry, the world is not divided into the good and the evil. The shades of grey dominate such spaces. The antagonist is as much a shade of grey as the protagonist. Why is it that the hero always wins? I was thinking what if the bad guy wins because he is more courageous? Or maybe luck favors him? Looking at us performers the performance for us is like one big fight, we prepare like hell and we perform and then we get ready for another one. Somehow we are all fighters inside. Battle is symptomatic of the kind of lives we lead today. We fight for everything with everyone. We fight in relationships, in friendships. We fight for our views, for our beliefs. We fight against fighting.

Invited by bolwerK : http://www.ooooo.be/greyzone/program-3.html

and then?

Day six. Label. Announcement. Departure. 

I stick a label on the wall above the candle I used to glue the fingerprints, on which I wrote with a pen:

I was here too / On my way  (2010)
Intervention / Installation

Interventions, traces / wax, label, name card
Iuliana Varodi

Read the entire text here : 

http://www.apass.be/apt.php?cwPage=browse%2Fprojectpage&cwProject=61&cwContent=588

the carrot as a fragment of Reality, the I, and their interaction

the experiment ( click to listen )

a sonic documentation of the process of melting between a carrot and the I

 a way of exploring the in-between area of the Reality and the I, and observing the interaction 

for the sake of the experiment, we take a little frame of reality, the carrot, and we let it interactt with the I in a spontaneous way . 

observation: the carrot doesn't do a thing with the I, while the I feels like eating the carrot. the eating is the interaction. in the process  the emerging questions are : 

does that piece of reality becomes part of the  I? does the I become a piece of reality by taking it in? is the carrot the overlaping zone between reality and I which slowly shifts from the domain of Reality into the domain of I?

Live Laboratory Symposium
and Durational Performances,
Exhibition and Publication

21 - 24 January 2010

"We do not move in one direction, rather do we wander back and forth, turning now this way and now that. We go back on our own tracks . . .' That thought of Montaigne's reminds me about something I thought of in connection with flying saucers, humanoids, and the remains of unbelievably advanced technology found in some ancient ruins. They write about aliens, but I think that in these phenomena we are in fact confronting ourselves; that is our future, our descendants who are actually traveling in time."  

 Andrei Tarkovsky

Utopia and Monument - On the validity of art between privatisation and the public sphere.

Public space is both a battlefield and stage for those visions and ideas in which a society puts its faith. At a distance, it also discloses that which is blindly supported in this society. One can survey it as if it were a kind of societal relief, or a contemporary witness of history, as it reveals both conscious and unconscious orders and structures.

In those times when the common faith in ideas is particularly strong, signs of this faith are placed into public space in the form of monuments which make beliefs concrete to us, alert us of the destructive power of faith, and signal the successful displacement of other beliefs.

[6:47 min] herunterladen auf: Handy | Computer & iPod | Feedback senden

The loss of faith in grand ideas has shown its effect by the occupation of public space by private interests. As a result, less public space is reserved for the monumental. The new landmarks follow the logic of commerce. The power of the consumer and the economy is reflected in the layout and occupation of public space - chalkboards with menu options, billboards displaying the fashions of the season, pavilions for company meetings, closed-off zones for large-scale events.

“Between purchases they savor the spectacle of the constant disintegration of the complexes to which they belong … Were the Mediterranean lapping at the avenue’s edges, the shops could hardly expose themselves in a more windowless fashion. They disgorge a stream of commodities that serves to satisfy creaturely needs; it climbs up the facades, is interrupted at street level, and then shoots with redoubled force up into the heights on the far side of the crosscurrent passerby. … No one invented the plan according to which the elements of the hustle and bustle scribble a jumble of lines into the asphalt. There is no such plan. The goals are locked in the individual little particles, and the law of least resistance gives the curves their direction.” (S. Kracauer).

With the decline of grand narratives, the selling-out of public space into the form of a street fair has fully begun. That which gains ground is less utopian, and just as less monumental in its space requirement, however, no less hungry and, as a diversified phenomenon, particularly assertive.

Under the title “Utopia and Monument”, Sabine Breitwieser has developed a two-part program for the “Steirischer Herbst” festival, in which she applies art to a discourse on public space. Examples of the unspoken being openly expressed on the street – understood here as a social platform for self-exhibition – are sought out. At the same time, the scope of art for public statements is tested, as well as its competitive power within the struggle over limited public space.

Fourteen international artists were invited to participate. Until October 18th, they explore the question of the validity of art between privatization and the public sphere. Part Two of “Utopia and Monument” will follow next year. (wh/jn)

to see the video:

http://www.castyourart.com/en/2009/10/07/utopia-and-monument-steirischer-herbst-festival/

steirischer herbst festival Graz / Austria

From Wikipedia on spider webs:

There are a few types of spider web found in the wild; and many spiders are classified by the webs they weave. Different types of spider webs include:

• Spiral orb webs, associated primarily with the family Araneidae as well as Tetragnathidae and Uloboridae
• Tangle-webs or cobwebs, associated with the family Theridiidae
• Funnel-webs, with associations divided into primitive and modern
• Tubular webs which run up the base of trees
• Sheet webs
• Dome or tent webs

Spiders have several spinneret glands located at their abdomen which produce the silken thread. Each gland produces a thread for a special purpose. Seven different gland types have currently been identified, although each species of spider will possess only a few of these types, never all seven at once.

Normally a spider has three pairs of spinnerets, but there are spiders with just one pair or as many as four pairs of spinnerets, with each spinneret having its own function.

During the process of making a web the spider will use its own body for measurements, a very practical and ergonomic design feature of any web. This will allow the spider to move quickly around its own web with very few faults.

It will start with the most difficult part of construction, the first thread. The spider effectively uses the wind to carry its initial adhesive thread. With some luck the silk is released from its spinners and carried by the wind to a suitable adherable surface. When it sticks to a surface the spider will carefully walk over the thread and strengthen it with a second thread. This process is repeated until the primary thread is strong enough to support the rest of the netting.

After strengthening the first thread the spider will continue to make a Y shaped netting. The first three radials of the web are now constructed. More radials are added making sure that the distance between each radial is small enough to cross. This means that the number of radials in a web directly depends on the size of the spider plus the size of the web.

After the radials are complete the spider will fortify the center of the web with about five circular threads. Then a spiral of non-sticky, evenly spaced, circular threads are made for the spider to easily move around its own web during construction. The spider then, beginning from the outside in, will methodically create the adhesive spiral threads. It will utilize the initial radiating lines as well as the non-sticky spirals as guide lines. The spaces between each spiral will be directly proportional to the distance from the tip of its back legs to its spinners. This is one way the spider will use its own body as a measuring/spacing device. While the sticky spirals are formed the non-adhesive spirals are removed as there is no need for them anymore.

After the spider has completed its web it will chew off the initial three center spiral threads then sit and wait. If the web is broken without any structural damage during the construction the spider does not make any initial attempts to rectify the problem.

Webs allow a spider to catch prey without having to expend energy by running it down. Thus it is an efficient method of gathering food. However, constructing the web is in itself an energetically costly process due to the large amount of protein required, in the form of silk. In addition, after a time the silk will lose its stickiness and thus become inefficient at capturing prey. It is not uncommon for spiders to eat their own web daily to recoup some of the energy used in spinning. The silk proteins are thus 'recycled'.

Hi, everyone~

I'm in Seoul now, it was about 25hours trip from Antwerp to here by the way of Tokyo(horrible!). Few days ago, I went to Nam June Paik Art Center which is newly opened with new big building nearby Seoul.

I'd like to introduce it's ambitious opening exhibition specially performance part (named Station 2). Unlike any other presentation, it is planned to show in the exhibition space blocked by partitions like any Biennales so that each performance could be shown consistently without time laps, tickets and audience seats.Various well known performance artists are invited like William Forsythe,Boris Charmatz and Romeo Castellucci. (maybe they are too established? Not at all in Korea...)

http://www.njpartcenter.kr/root/festival/html_eng/station_2_1.html
(Click the red bar to see each works)

Anyway, for me and Aptee who are interested in convergence with visual art or those who searching for alternative way might be helpful this information.

I miss all Aptees and Antwepen~
If you interest in this exhibition, I'll visit again and
would video taped and show at Apt.
So,,, more reply could push me to document this exhibition. ha~

from far far way city ,

Sungmin

- masturbating theater for homless-

Actually no one is masturbating in this.

By sitting audiences on chair to see performance, homless people under audience seat

could get heating through weight sensor. (more audience gets more heating)

and temperature of homeless(RFID)  send to billboard in public space and performers.

So, It's  win-win circulation from audience-homeless-performers and even gas co. and

government who organized out door performing art.

Can You Feel The Love Tonight

artist: Elton John

album: Greatest Hits 1970-2002

genre: Pop

year: 2002

Because You Loved Me

artist: Celine Dion

album: All The Way...A Decade Of Song

genre:

year: 1999

Suddenly

artist: Billy Ocean

album: Greatest Hits

genre:

year:

Three Times a Lady

artist: The Commodores

album: 20th Century Masters

genre:

year:

Tonight I Celebrate My Love

artist: Roberta Flack

album: Softly With These Songs The Best Of Roberta F

genre: Rock

year:

Just the Way You Are

artist: Billy Joel

album: Greatest Hits Vol. 1-2

genre: Pop

year: 1998

Wonderful Tonight

artist: Eric Clapton

album: One More Car One More Rider

genre: Rock

year: 2002

Smoke Gets in Your Eyes

artist: The Platters

album: 20th Century Masters: The Best Of The Platters

genre:

year: 1999

What a Wonderful World

artist: Louis Armstrong

album: All-Time Greatest Hits

genre:

year:

When I Fall In Love

artist: Celine Dion

album: The Colour Of My Love

genre: Easy Listening

year: 1993

Boom! Shake the Room

artist: Dj Jazzy Jeff & The Fresh Prince

album: Jazzy Jeff & The Fresh Prince - Greatest Hits

genre:

year:

Everybody (Backstreet's Back)

artist: Backstreet Boys

album: Backstreet Boys

genre: Pop

year: 1997

No Diggity

artist: Blackstreet

album: Another Level

genre: R&b

year: 1996

Jump

artist: Kris Kross

album: Totally Krossed Out

genre: Rap

year: 1992

Pump up the Jam

artist: Technotronic

album: Pump Up The Jam

genre: Other

year: 1989

Cotton-Eye Joe

artist: Rednex

album: Sex & Violiins

genre:

year: 1995

Let's Talk About Sex

artist: Salt-n-Pepa

album: Blacks' Magic

genre:

year: 1992

Now That We Found Love

artist: Heavy D & The Boys

album: Now That We Found Love

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Who Let the Dogs Out

artist: Baha Men

album: Greatest Movie Hits

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Hot Hot Hot

artist: Buster Poindexter

album: Buster Poindexter

genre:

year: 1987

Y.M.C.A.

artist: Village People

album: The Best Of Village People

genre: Pop

year:

Macarena

artist: Los Del Rio

album: A Mi Me Gusta

genre:

year: 1994

Hokey Pokey

artist: The Champs

album: Tequila: Golden Classics

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Can't Get You Out Of My Head

artist: Kylie Minogue

album: Fever

genre: Pop

year: 2002

Billie Jean

artist: Michael Jackson

album: Vol. 1-Greatest Hits History

genre:

year:

Holiday

artist: Madonna

album: The Immaculate Collection

genre: Pop

year:

Like A Virgin

artist: Madonna

album: The Immaculate Collection

genre: Pop

year:

ABC

artist: Jackson 5

album: The Ultimate Collection

genre: Soul

year: 1995

Dancing Queen

artist: Abba

album: Gold - Greatest Hits

genre: Pop

year: 1992

Oh, What a Night

artist: The Four Seasons

album: Anthology

genre:

year:

We Are Family

artist: Sister Sledge

album: The Best of Sister Sledge (1973-1985)

genre: Soul

year:

Strangers In The Night

artist: Frank Sinatra

album: 20 Hits

genre: Ballad

year:

My Way

artist: Frank Sinatra

album:

genre:

year:

Joy To The World

artist: Three Dog Night

album: The Best Of '3 Dog Night'

genre:

year:

Tequila

artist: The Champs

album: Tequila: Golden Classics

genre:

year:

You Can't Hurry Love

artist: Diana Ross & The Supremes

album: The Ultimate Collection

genre:

year:

Can't Help Falling In Love

artist: Elvis Presley

album: ELV1S 30 #1 Hits

genre:

year: 2002

Het Geluid I Maastricht

Maastricht, 22^nd of April 2008

Dear organizing committee of Das FRIEDENSDPROJECT, BERLIN 2008,

Hereby we theatre collective Het Geluid, Maastricht, The Netherlands

Would like to propose our successful performance: KIBUYE for your project.

Kibuye is based on Clea Koff’s book The Bonewoman or Die Knochenfrau. At 22 years old, just graduated as forensic anthropologist Koff leaves the US for Kibuye, Rwanda, to help open up a massive mass grave. With a sort of professional distance and a great moving care and engagement Koff speaks about the difficult work and the histories behind it. A post modern tragic tale with an ancient ring. Clea koff is our present day messenger. In Kibuye like in the old Greek plays the violence is described but not shown. So via our ear the images will hunt our eyes. In a mediatised world where the amount of images sometimes seem to make us numb. This play is a simple but shocking revelation. Clea Koff is an impressive human being who without any shame can say: I did something important in this world. For us Clea Koff is a very inspire ring person who comes from a perspective of professionalism, dealing with painful truths to a very realistic but moving approach to a new concept of peace.

 Kibuye played with much success at several festivals in the Netherlands like ITS festival, theaterfestival Amsterdam and opened at the coup in hometown Maastricht.

Het Geluid is an interdisciplinary theatre collective:  based in an old factory in Maastricht, The Netherlands. In the Euregion on the border with Belgium (near Hasselt and Liege, 15 min) and Germany (Aachen, 15 min)

Existing of graduates from Maastrichts Famed drama school and operasingers, journalists, dancers, musicians and thinkers. Het Geluid thinks beyond and crosses the borders of countries and the different arts. It specializes in non theatre texts, (new) music theatre, working with different content fields and what we call the humanities.  (that is why we are so interested to contribute to your project)

After successful performances around the Netherlands we are excited to translate KIBUYE in German and play it in a very content rich environment, like your project promises to be. The play takes 45 minutes, will be translated for the project in German and can play in a non theatrical area. Since it has no scenery.

Het Geluid also had much success with our rendition of Arnold Schoenberg’s ERWARTUNG at the EUREGIONAL OPERA EN MUSIC THEATRE FESTIVAL 2008. Upcoming month our new production L’Intrus opens at the Theater aan het vrijthof in Maastricht.

We are very interested in other contexts than the average theatre setting to present our work in because we hope it brings our work back to what it was in ancient Greece. A place for moral reflection!

Hope to informed you enough

My regards

Gable Roelofsen

Collective member Het GeluidIMaastricht

MUTO is a wall-painted animation by BLU

Dear Camille:
Do you think Courtney Love has surpassed Madonna as an icon of tough, sexy, smart womanhood?

Curious in New York

Dear Curious,
Courtney Love is clearly in transition, so it's too early to predict how she may develop as an actress or musician. But at this point it is preposterous to compare her achievements with those of Madonna, who is a world figure of huge impact on the performing arts. Courtney's core following is very limited by age, race and nationality, while Madonna's ardent, multiracial fans range from children to mature adults and number in the millions.

Courtney has already shown she is the better actress because of her ability to open herself emotionally to her character, as well as to her director and fellow actors. Paradoxically, this may be because she's less psychologically stable than Madonna, who is a mogul and control freak and too suspicious and guarded to really blend with an ensemble where she's not the boss.

The drug-free, perfectionist Madonna is much more profoundly visionary and steadily inner-directed than Courtney, who thus far has been primarily reactive, bouncing from place to place and thing to thing. I can't imagine Madonna -- or any genuine rebel -- saying what Courtney did after the Golden Globe awards about how much she was enjoying adults being "nice" to her.

Courtney's recent, drastic image makeover was long overdue. Not only did she hang on to that tatty "Kinder-whore" look for four years too long, but her reputation still needs emergency resuscitation in some circles. For example, about a year and a half ago, a famous, hip comedian said disgustedly to me, after she saw a dirty, disheveled, staggering Courtney "dragging" her tiny child through a packed, raucous party in the middle of the night, "Kurt Cobain killed himself to get away from her."

It must also be said that Courtney, as much as Hillary Clinton, owed her initial prominence to her association with a famous man. This cannot be said of Madonna, who learned her technical skills from a series of shadowy producers but who rocketed herself to superstardom.

Finally, Madonna's massive contributions to music leave Courtney's in the dust. Courtney's group, Hole, is a good but not great band that has yet to add a single important song to the central repertoire of popular music. Madonna, in contrast, is a major original composer and arranger whose blazingly beautiful, intricately layered songs have dominated the air waves and permeated the imagination for 13 years. When will the Grammy Awards judges, those gross hypocrites, get around to honoring her?

Please note that I continue to defend Madonna despite the fact that she has been nothing but bitchy, bitchy, bitchy about me! I am, you see, the second Italian-American lesbian named Camille whom the gods have devilishly sent to help and harass her -- the first being the pivotal, early manager whom Madonna ditched on her way up.
March 4, 1997

Charles Mee: There is a vital relation between art en the way societies are structured. As societies develop, it is the artists who articulate the necessary myths that embody our experience of life and provide parameters for ethics and values. Every so often the inherited myths lose their value because they become too small and confined to contain the complexities of the ever- transforming and expanding societies. In that moment new myths, structures, relations, ways of embodying are needed to encompass who we are becoming

I am an Artist, I am a researcher, I am a paraSITE| How can we stimulate and simulate this community?

I have a background as a theatre artist.

An audience is a community for the duration of the event.

It always amazes me that within the group of onlookers everybody’s lonely individual inner experience seems emphasized.

Theatre is to me a mental space. The area where I learned that we can construct reality. We can influence experience. We can take of the façade of daily reality.

Having an interdisciplinary theatre collective in Maastricht my constant question is:

How can I make work that keeps it‘s autonomy, complexity, research quality but still find a connection with the direct community the work was made in?

I want to investigate the relation to and influence the community I work in. But I don’t want to make Community work in the seventies sense. No moral superiority. But an arena to share ambivalence and complex disturbing realities. The success of a work, to me depends, on the way we artists find new shapes for our shared ambiguities and uncertainties.

Embodying the other and telling constructed stories is about the relationship to the self.

In the mental space called theatre we can become aware of how much the borders, markings and scars we perceive are caused by our own thinking, by our own ongoing interpretation.

A good actor is like a vessel. A person who embodies collective knowledge and uses his or her hyper individual expression/body/speech to reach for the universal. A good actor knows it is important to keep his self images flexible not fixed. On stage a good performer remembers us by his or her unmediated presence that human beings are both extremely vulnerable and extremely powerful.

It calls on us to define our identity on different terms. Than we normally do.

It is disturbing for most audiences in performances (that are not like most commercially driving theatre works that seem to want to kill time and the autonomous thinking.) to be confronted with the kind of theatre that makes you aware of time, ambivalence, that remembers us of our vulnerability and power, to keep our identity fluid. This is to me is the basic ancient consciousness that theatre has to offer any community. We become aware of the relation to ourselves and the other. That is our mutual job, to see that we keep the structures in our heads, minds, words and our communities fluid.

I am part of a theatre collective called HET GELUID, based in AINSI in Maastricht. We are not just a producing company but we do very active research.

One of our current multiyear projects is a project called FREMDKOERPER, a series of more than ten performances around the strangeness in ourselves and the relation to the other.

After performances that basically were only reflecting on communities, lately we stumbled on variations of using the community we work in. Our two latest performances took place in site specific situations in Maastricht University and in a court room. In the opera Erwartung, made in a courtroom, actual clerks and judges participated in the performances. It goes beyond the question of using so called amateurs or non-professionals. It is more a matter of the “knowing and the not knowing body”. The trained theatre professional gained knowledge but lost a certain amount of not- knowing. The amateur may not have the skills but that person may be a judge for years and knows the “performative setting” he is functioning in very well. Working site specific meant that we got to learn new people with different preconceptions than ours and that those people would reconsider their view on THEIR workplace. Our theatre was always changed by what the specific place and its people brought to us.

Maastricht is a laboratory. A mixed up, confused collective identity. Bourgeois? Middleclass? Rich? Dutch? Provincial? Euregional? European? Too much import? Too protective? Xenophobic? that in my opinion needs theatrical intervention/intrusion. A common notion in theatre is that it is political to give voice to the unheard. My research plan is to make visible by theatrical and performative interventions in this city, the unheard city.

The city is institutionalized. All the big art budget is mostly spent on organization. The future ambition and identity of the city follows a discourse of ARTS AND LEISURE. Art should keep and attract money, companies, people, tourists and jobs to the city. Many rapports speak of a casino, a new musicalshow theatre, Cultural capital of Europe in 2018 and “protecting” the TEFAF arts fair of “Parasites”. This discourse has some violent sides to it. It ultimately is together with the idea to bring the softdrugs to the borders of the city area part of a discourse of exclusion.

Charles Mee speaks about artists creating new mythology. I speak about the notion of giving voice to the unheard. We talk about a discourse of inclusion. We are living in a power struggle with the discourse of cleanness, tidiness and exclusion because it’s discourse violates identities, possibilities, ethics, morality, communities. It doesn’t know how to deal with ambivalence. I see this tension everywhere in the world. How do we deal with the disturbing? Do we kill it or do we acknowledge that the disturbing is a part of us.

I am a researcher and Maastricht is my lab.