Възможност за резиденция в Uferstudios, Берлин
Wild Card residency at Uferstudios Berlin
Uferstudios Berlin is partner in the European network Life Long Burning (www.lifelongburning.eu). One of the projects in this network to support (young) dance makers is the Wild Card residency. Together with their associated partner HZT Berlin (inter-University Centre for Dance Berlin), which offers BA and MA programs in dance and choreography in Berlin, Uferstudios gives the opportunity for an artist to take part in one of the modules of HZT.
Organizer: Uferstudios Berlin in collaboration with HZT Berlin
Name of the program: Wild Card #6 Uferstudios– Participation in a 3 weeks workshop at HZT BA program / Berlin
When: from 20 October until 6 November 2015 (plus travel days)
Where: Uferstudios Berlin, Germany
The program offers:
The participation in one of the two workshops described in the attachment.
One workshop is given by Frederik Gies, the other one is given by Augusto Corrieri. Both workshops will be held in the frame of the HZT Bachelor study program “dance, context, choreography”, the other participants will be from the 2nd or 3rd year of the BA program. Schedule and content see attachment.
Additionally there is a morning training program (10:15am to 11:45am)
Drop-In: 20.-23.10.: BMC with Isabelle Schad; 26.10.-6.11. BMC with Frederik Gies
This Wild Card covers:
Booking and costs of international travel to Berlin
100€ per diem up to a maximum of 2100 € after invoice (to cover accommodation, meals, local travel during the stay in Berlin – Uferstudios will organize the accommodation and calculate around 50€ per day for it)
Application requirements: CV, motivation letter (both in English) and choice for workshop
Application deadline: 1st of September, 2015Wild Card #6 – Uferstudios – HZT
Workshop description
Workshops: tuesday 20.10 - friday 06.11, 13h-17h
20.10, 22.10, 23.10,
26.10, 27.10, 29.10, 30.10,
02.11, 03.11, 05.11, 06.11
a)
Frédéric Gies - offer for BA 2 & 3 Technosomatics Etymologically, the word choreography means writing the circle dance, the choir dance. If one understands the choir as what bodies do together and as how they move collectively, then there is a political issue at the core of the task of choreographing. Can the choir be written by one single person or delegate its own writing? If the answer is yes: under which conditions? And if the answer is no: how can the choir write itself? In this workshop, I propose to experiment with practices that I am developing in the frame of my current research project Bad girls practices: un-writing dance, the body and the choir, which reflects on the possible violence of choreography and its inscriptions, that is to say its embodiment, and explores ways of approaching choreography as an un-writing practice rather than a writing practice. We will engage in movement practices that articulate dance, somatics and techno, as well as in discursive practices, in relation to the concept of un-writing. We will also make links between the experiential and theoretical materials related to the questions addressed in the workshop. Biography: Frédéric Gies is a dancer and a choreographer, based in Stockholm and Berlin. After having danced in the works of various French choreographers in the 90′s, he started to develop his own work, which focuses on the articulation between dance, choreography and politics, and more precisely on how dance and choreography can address politics in a non-representational way. He creates his pieces alone or in collaboration with other choreographers (Anna Pehrsson, Jefta van Dinther, DD Dorvillier, Manuel Pelmus, Isabelle Schad, Alice Chauchat, Frédéric de Carlo, and Odile Seitz) or with artists from other disciplines (Fiedel, Anton Stoianov, Daniel Jenatsch, Andrea Keiz). He has been one of the initiators of the collective praticable. He also danced in pieces of other choreographers (Jefta van Dinther, Antonja Livingstone, Petra Sabisch, Isabelle Schad). Since 2012, he is a senior lecturer in choreography and head of the Master Programme in Choreography at DOCH, School of Dance and Circus – SKH. He is currently developing a research project at DOCH: "Bad girls practices: un-writing dance, the body and the choir". In this frame, he created the experiment Good girls go to heaven, bad girls go everywhere, a collaboration with the DJ Fiedel and the visual artist Anton Stoianov.
b)
Augusto Corrieri - offer for BA 2 & 3 Performing Matter This block will begin with the group collectively watching the feature-length film Le Quattro Volte (2011), by Michelangelo Frammartino. The film features four main “protagonists”: an old man, a newborn goat, a tree, and some charcoal. Moving sequentially from one element to the other, it charts the
interconnection between the human, the animal, the vegetal, and the mineral realm; as a movie it is funny and contemplative description of how things connect and interact, outside of the merely human domain. We will take the film as a springboard, a philosophical proposition, and a way of focusing experiments around how human and non-human things perform. How can the interconnectedness of matter be made visible and felt? We will pursue some readings by theorists of contemporary ecology, as a way of prompting thoughts and investigations: Vibrant Matter, by Jane Bennett, and Hyperobjects by Tom Morton. We will also consider other works that focus on performing matter (such as Der Lauf der Dinge by Fischli and Weiss, or early video works by Bill Viola). Today, in the age that has been called ‘The Anthropocene’, ecology is changing to include materials and forms of agency previously thought to be artificial and inanimate: plastic bags, wind turbines, landfill, and e-waste are now part of the “life cycle”, and so we can no longer easily separate “nature” from “culture”. An investigation of interconnected states can therefore move between multiple locations, different scales and temporalities. We will experiment with how live performance can present this ecology of things, and consider the ways in which the “theatrical” framing, which is traditionally anthropocentric, can aid or block an approach towards non-human matter. How can ‘the theatre’ open up to include the non-human, and how does this transform or undermine the theatrical apparatus? What is the relation between performance and ecology? What happens to artistic practice when it recognises its entanglements with non-human forms and agencies?
Biography: Augusto first trained and performed as a sleight-of-hand magician. In 2002 he completed a degree in Theatre at Dartington College of Arts (UK). He was co-founder of Deer Park performance company, and has worked with several others including propeller, Lone Twin, MK, and Blind Ditch.In 2006 he began his solo-led performance practice, with the showQuartet (for Anna Akhmatova). He has since made numerous solo and group performances, for both theatres and galleries. He has received commissions from La Casa Encendida (Madrid), What festival (London), Camden Arts Centre (London), the Nightingale Theatre (Brighton), and others. Between 2006-2009 he was a supported artist at the Basement (Brighton).
Between 2009-2012 he was a researcher for the Performance Matters creative research project (London), co-curating a programme of events involving PhD researchers and international artists. In 2013-2014 he made and toured In Place of a Show (a lecture), a series of lectures on empty theatre buildings around the world. The material from this work will published as a book in 2016 by Bloomsbury Methuen Drama, with the title In Place of a Show: what happens inside theatres when nothing is happening. During a 2014 residency at Edinburgh's Rhubaba Gallery he developed the pseudonym Vincent Gambini, under which he is currently developing a series of magic performances. His texts and essays on performance and art are published in books and journals. As a visiting artist he has led many workshops, seminars and modules in various UK universities and institutions.
