Sunday 27th @ 8:00 pm we will host our fourth screening.
Dancer In The Dark by Lars von Triers.
And a 1981 visual ethnographic documentary of a supposedly Nepalese tribe narrated by a distanced American presenter male voice.
To join please sign up.
As Nocturnals is a recurring event where ArtScience students screen films/docus/movies relevant to our thesis/graduating research.
All people welcome.
What insights can we gather regarding the habit of vision through blind exercises?
Sunday 27th @ 5:00 pm will be dedicated to our feet’s sense of touch. Various materials and textures will delineate a path in the studio to walk on. We will have a short warm up, blind practice followed up by time for reflection.
email Aisha to join!
“I’m testing this method out as a way to find the most suited structure, so it is kept open specifically for this reason. If this seems like something that could interest you please do join! Your support would help me structure the coming sessions better. “
Some tests:
alone:
2 weeks blind
floating tank
scuba diving at night
running blind
with people:
ways of not seeing: extensions, googles white, black, lenses, blur resting in darkness: breathing and listening
running blind
blind walks
rear-view eyes – no eye contact possible, only mirror view
feet for eyes – barefoot walking
experimental blind dinner 24 h
blind writing
on trust – socialising blind in a room full of people
~ attention to: B4 M2 ArtScience
In light of our graduation we are setting up the AS DIURNALS/NOCTURNALS: a temporary platform for the mutual support of our development. We will use the Modular Mondays as well as other suited locations (CLOUD, beach, walks, etc.) to gather the feedback needed. Think of it as group studio practice. Given the participatory nature of most of our works, it is important that we can rely on each other for testing our ideas.
lo bil is a York University Interdisciplinary Masters student creating body-based performance art using cross-disciplinary methodologies to correlate research into process, pleasure, vulnerability, an aesthetics of feeling, and the impacts of a social location on identity. Through non-repeated performance gestures, lo generates intuitive research into academic concepts by using physical improvisation, spontaneous utterance, impulse- based scores, object manipulation, and inter relational proposals with audience. Her work has been called “raw”, “amusing”, “transparent”, and often involves creating a feedback loop with the audience.
I am developing a performance-research practice of “dropping” questions into the body, aiming for “non-repeatability” and moving on intuition as a method for understanding philosophical texts.
Encouraging myself to move into states of intoxication through movement provides an entry-point into my unconscious image life, connecting abstract physical impulses to sublimated content by letting speech effect movements and movements affect speech. Making this physical practice into a performative one, layers on an interrelational complication, to notice how the body responds to itself while being seen by others – in this state of hyper-awareness and “felt knowing” – thoughts surface differently.
I become aware of “habits” or psycho-physical patterns of movement and related thought sequences from memory. I try to identify, deconstruct and reorder these habitual patterns into non-repeatable forms, disrupting psychic material that surfaces. I want to interrogate habits that are blocking my ability to create new ways of thinking. I will prepare with texts by Butler, Nancy, Deleuze and Guttari, Ranciere and Agamben.
ARTIST STATEMENT:
I am a Performance Artist. I write with images – sourcing my work from my own identity transparently and investigating my philosophical problems with improvisatory actions and object relationships. I offer audience situations and provocations to dream around. I offer a context for people to think of their own questions and notice their own desires.
I practice for months, but in the moment before the performance, I let go of what I want to happen or expect to do. I ask, “How can I be in front of this audience in an attentive and receptive way and what is moving to me about the topic at hand right now?” I do this action. This first mark on the canvas is an offer that I follow through to the end of the composition. I use body memory as a generative source of possible exchange and inquiry. In this way, I am researching my knowledge and lack of knowledge; I am accepting the reality of my body, the reality of my economic state, the reality of my class, my gender and all unknown aspects of my history.
This performance style is a DIY strategy where in body and thought I am ready to perform at any moment in alignment with my own integrity and the nature and energy of the people present. The “currency” of this methodology is the responsiveness to context – information can be immediately incorporated into the texture, movement, and conversation with the audience – thus the work allows us to unpack questions in a collective way.
I am also researching what it is that elevates my consciousness in the moment of performance – that energetic flow that allows meaning to emerge that I could not have realized if I had not made the performance. This question has come from my constant radical doubt around: why perform at all? I keep performing because actually it is in the moment of performance that I don’t know where I’m going, that I can look back at and say: I know where I am going now, thanks to this performance. As crazy or wild as the performative state can be, it leads me into knowledge.
I would love to have conversations with local artists to help generate more context for the performance proposals and for my thesis writing.
If you are interested please contact me : lbil@rogers.com
“I propose an open studio performance and workshop. I will show you what I have been working on in the intersection between movement and philosophy and then I will make some proposals for audience to engage in. No pressure to participate but I hope you will be curious enough to join us for this mini workshop that aims to generate pleasure, connection and interesting things to think about. “
Blog : http://lo-bil.tumblr.com/
Elien Hanselaer (Belgium) works as an actor and theatre-maker in Belgium and United Kingdom. She has worked with international companies such as Dash Theatre and Odin Teatret. Elien focusses in her work on the feminine aspect of theatre, seeking spirituality and community in her work. The actors create from communal work in an empathic methodology setting, which is radically changing. Elien started an artistic, practise-based research on actor-actor connection in September 2018.
Dasha Kolesnyk: My research is focused on communication through touch. I am gathering tools that enrich human tactile sensuality, drawing from all possible sources ranging from academic research to Argentinian Tango dancing. The more fine-tuned our senses are, the richer our tactile communication can be, and the more pleasure and knowledge we can derive from this experience. Skin is out biggest organ. Touch is the first language all of us have used to communicate before we learned to talk. Whether we are aware of it or not, much of our information exchange still flows through our skin. I think it is a language worth mastering.
Judith is an interdisciplinary artist and movement researcher. The body, in its whole existence, is her biggest fascination. Her research focuses on our movement patterns / habits and how we can learn to recognize them and therefore have the possibility to bend /change them . As an artist she has been busy with this with her theater collective of mutli disciplinary artists and friends LUDIC COLLECTIV. As a scholar she is in her 2nd year of Feldenkrais teacher training, where she is learning about Awareness Through Movement & Functional Integration.
In the last twenty years, the performing arts have spend a great deal of time researching ‘how the artist can get into total interconnectedness (comparable to the psychological concept ‘flow’), seen as the ideal state for an actor or musician to perform. The core concept leading to total interconnectedness is, according to theatre theoreticians, the interconnectedness between the actor and co-actor. In contemporary a acting (training), which has become more and more based on the individual, actors today struggle to connect to the co-actor or practise on-stage empathic listening. In a culture whose already classical dilemma is het hypertrophy of the intellect at the expense of energy and sensual capability, Western theatre today is shaped by theoretical paradigms such as semiotics, deconstruction, psychology, and post-structuralism instead of the empathy, connection and coming together it so desperately needs.
The experiment we are proposing is to look at how performers connect and how they can connect better. We will be researching this through a mixture of theatre, Argentinian Tango and Feldenkrais technique. The experiment functions as an inspiration for the development of dialogical and trans-individual theatre and approach of theatre making that reflects the many dimensions of our humanity, society and potential back to us.
SOUL#3 CO-CREATION, the new work
The creative hubs exchange is an opportunity to witness a process and to share ideas about the future of an art work: a dance performance
With this new part of the SOUL serie Jerome and Isabelle question the concept of co-creation in the context of dance theater performance and see the role that play such approach in the making of and in the result of the performance self.
With the SOUL project they are engaging reflection about audience’s freedom and free will, about identity and the act of engaging or not engaging in the course of an action.
With Meyer and Chaffaud’s statement – the audience, the performers and the makers as active co-creator force, how far can we go together to create an intellectually engaged work as well as an immersive unique experience?
When: 23 January
Where: CLOUD/danslab
We start at 19:00
A free soup will be served from 18:30
Expect ending at 20:30
Reserve here: creative.hubs.exchange@gmail.com
More info about the dance company here
Facebook event is here
Saturday 12 January 17:00 – Screening Drawing Restraint 9 (Matthew Barney – Björk)
For our third event we will screen a pick by Sophia Bulgakova.
Some crunchy food and pillows will set the stage for an informal discussion around the film and Sophia’s thesis (on limitations as a catalyst for creativity).
To join please sign up with: ryannon.aisha@gmail.com
Doors close at 17.00 pm sharp
As Nocturnals is a recurring event where we ArtScience graduates come together to develop art pieces and exercises through mutual support.
Films/docus etc. relevant to our thesis/graduating research will be projected at Cloud on a regular basis.
No preparation or introduction needed.
Donations welcome.
Dear Cloudies and beyond, unfortunately the Do-In class by Laura DeGaspari won’t happen tomorrow (Saturday 7.12.18)
Classes will resume with Oriental Dance Techniques with Aisha at 11.15 am. Hope to see you there!
Dancing Inside Collective – workshops
How do we use our range of emotions to relate to ourselves and other?
Dancing Inside offer a series of workshops where we explore the emotional content behind our ways of moving and relating.
The focus will be on unfolding and translating the metaphorical dance experience into a support in the everyday life.
Dates and Times:
20.1. Giving: moving oneself toward the other.
27.1. Getting: moving other toward oneself.
3.2. Removing: moving other away from oneself.
10.2. Escaping: moving oneself away from other.
Time: 16.-18.00
We will explore these actions not only from the functional, but also from the emotional and relational perspective to gain a deeper understanding of how we embody, express and interpret them. Using movement improvisation and verbal reflection we try to integrate our thinking, feeling and doing bodies.
Throughout the workshops we hope to discover the body as a source of information. We hope to offer an opportunity for participants to learn more about themselves through movement.
Cloud DansLAB
De Constant Rebecqueplein 20b
2518 RA Den Haag
Price:
Four encounters: €100
Reduced rate: €60
Max. Number of participants: 15
Sign up:
Claudia: claudia.scaringella@hotmail.it (tel. 06 10 10 06 71)
Meri: m.a.erkkila@gmail.com (tel. 06 38 72 09 51)
About Dancing Inside Collective:
Claudia and Meri met during their studies at Codarts. Since then they have collaborated on experimenting and creating methodologies based on movement improvisation exercises that allow emotional content to arise. Dancing Inside Collective offers a creative platform for curious people to learn more about themselves through dance and movement.
Claudia Scaringella: First class BA honour in Choreography and Dance (UK) and student of Master of Arts Therapies (dance movement therapy), Codarts, Rotterdam. Dance improvisation teacher and dancer.
Meri Erkkila: First class BA honour in Performing Arts (UK); student of Master of Arts Therapies (dance movement therapy), Codarts, Rotterdam. Ashtanga yoga teacher.
Born in Madrid, 1989 Fernando Troya has a classical dance background. He is a former dancer at NDT II. He is and independent artist since the end of 2015. He is thoroughly trying to develop a practice that brings him to new places. Talking about subject that matter to him in a personal way.
In his research he is inspired by departing or arriving from images, characters, emotions or situations given by Goya’s works.
This time he is back in the studio to explore more the acting and comical side of emotions that arise from the artist works.
Reminiscente: is a new production by Fernando Troya to be created as a series of chapters in the form of short pieces. These chapters may be performed independently and/or combined (adapting to the needs of the venue), and ultimately culminate in a full length performance.
The chapters will be connected through the concept, aesthetics and structural basis: Francisco Goya: prestigious oeuvre is the main source of inspiration for the aesthetic appearance and content of this new creation.
In Goya’s work mixing dreams, historical events around his time and popular fears and myths; witches, demons, anthropomorphised
animals; nightmares become real in a world where the limits of different dimensions become very fine and seem to permeate one another.
He will be using Goya oeuvre to fuel the physical research. He will not stick to one particular phase of his work, but extending the study to his entire life. Using the wide range of imagery we bring to life a new journey of our own.
The edges of the voice
8th and 9th of December
Guest Readers: Aurélie Nyirabikali Lierman and Amelia Groom
Texts by: Anne Carson and Eduardo Kohn
In this cluster we will be delving into texts and practices that explore the limits and potentials of vocal expression. We will be looking at two texts that approach questions of voice and silence/ing through very different entry points; that of the non-human semiotic worlds of the rainforest, and that of the gendered politics inherent in determining how and whether voices are heard. Departing from their respective practices dealing with the question of the voice, Aurélie Nyirabikali Lierman and Amelia Groom will guide us through experimental and in-depth discourses that may broaden our perceptions of where we hear voices, when we speak up, and when we deliberately deploy silence.
The second part of the cluster is a workshop led by artist/vocalist Aurélie Nyirabikali Lierman, in which we will explore the texts and our many voices, by assembling an experimental “non-human choir”. Aurélie will guide us through physical and vocal exercises focusing on onomatopoeia, non-linguistic sounds, and the untapped possibilities within the repertoires of our non-adult and non-human voices (baby, animal, spirits, etc.). The workshop is suitable for complete beginners as well as professionals in the fields of vocal practice, and is open to participants of any age.
Note from the curators
There are a limited number of spaces available for this event. As this is a discussion, you are expected to have read the provided texts before attending. Please reserve a spot by sending an email to platformtm@gmail.com. We will also provide you with a copy of the texts once you have RSVP’d.
The Reading Room is organised by Jonathan Reus, Sissel Marie Tonn and Flora Reznik. With thanks to support from Stroom Den Haag and the Dutch Creative Industries Fund, and our production partner the Instrument Inventors Initiative.
Amelia Groom is a Berlin-based writer, and currently a postdoctoral research fellow at ICI Berlin Institute for Cultural Inquiry, where she is working on an art historical project about stones. Since 2014 she has taught on the Critical Studies MA at the Sandberg Institute in Amsterdam, and she was also the theory tutor for the Master of Voice programme at the Sandberg (2016-2018).
Aurélie Nyirabikali Lierman’s oeuvre balances between radio, installation, performance, vocal art and composition, with her extensive collection of unique field recordings and soundscapes from rural and urban East-Africa serving as the common denominator. Soundbite by soundbite she transforms and molds all those sounds into something she describes as “Afrique Concrète”. In addition to this, she constantly premieres new music by emerging young composers from around the globe in a multiplicity of styles. Lierman is a former radio maker and host at the national Belgian broadcasting corporation and co-created two Nurse With Wound albums.
Saturday 8 December 20:00
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As Nocturnals is a recurring event where we ArtScience graduates come together to develop art pieces and exercises through mutual support.
Most evenings will be open to the public.
Saturday 8th December 8.00 pm – Screening Into Darkness (Rachida el Garani) / Land of Silence and Darkness (Werner Herzog)
For our second event we will screen two picks by Aisha Pagnes. Some crunchy food and pillows will set the stage for an informal discussion around the film and Aisha’s thesis (on blindness).
No preparation or introduction needed.
To join please sign up with: ryannon.aisha@gmail.com
