Past Events (selected)

by Marcel Zaes (CH)

Setting #21, 11:00 @ non announced place in greater Zürich.
Setting #22, 12:00 @ non announced place in greater Zürich.
Setting #23, 20:00 @ Cabaret Voltaire.

Details verbergen

deutsch

Eine Serie von «Living Installations» mit je einer flüchtig definierten Bühne im Aussenraum und Performer/innen, die einem vorgegebenen Plan folgend elektronische Geräte mit gratis erhältlichen, klangerzeugenden Apps bespielen.

Marcel Zaes, 2019, Konzeptualisiert in Zusammenarbeit mit Annelie J. Graf und Philipp Cron

mit:

Simone Keller
Philip Bartels
Duri Collenberg
Moritz Müllenbach
Lukas Rickli

Setting ist eine Serie von «Living Installations», die ausschliesslich als mediatisierte Dokumente existieren. Marcel Zaes konzeptualisiert damit eine künstlerische Praxis, welche das Flüchtige von Performancekunst, die Dreidimensionalität und Ortsspezifität von Installationskunst, mit der Medialität der aufzeichnenden Kamera verbindet. Das resultierende Oszillieren zwischen der Performativität, verkörpert durch die Performer/innen, und dem Installativen, betont durch die unermüdlich klangproduzierenden elektronischen Objekte, sind die Komponenten die Zaes zum Begriff der «Living Installation» führen. Durch die intrinsische Medialität dieser Arbeit werden jedoch die Begriffe «live» und «installativ» in ihrer konventionellen Bedeutung in Frage gestellt und verschwimmen. Die Darsteller/innen, wie auch die von ihnen getragenen elektronischen Gerätschaften, verschmelzen zu klangerzeugenden Objekten. Übrig bleibt ein einziges lebendes Archiv mit hierarchisch gleichwertigen Konstituenten auf einer Bühne, die irgendwo zwischen dem gefundenen Aussenraum und dem Kamerasucher liegt.

Setting #21 findet am Samstag, 8. Juni 2019 um 11:00 Uhr an einem nicht angekündigten Aussenort im Grossraum Zürich als flüchtige «Living Installation» statt.
Setting #22 findet am Samstag, 8. Juni 2019 um 12:00 Uhr an einem nicht angekündigten Aussenort im Grossraum Zürich als flüchtige «Living Installation» statt.
Setting #23 findet am Samstag, 8. Juni 2019 um 20:00 Uhr im Cabaret Voltaire als flüchtige, mediatisierte Performance statt.

Diese «Fun & Fury!» Performance ist Teil des Theatre of Sound, kuratiert von Philipp Cron (CH)

Freier Eintritt!

english

Marcel Zaes, 2019, conceptualized in collaboration with Annelie J. Graf and Philipp Cron

with:

Simone Keller
Philip Bartels
Duri Collenberg
Moritz Müllenbach
Lukas Rickli

A series of «Living Installations» with each a loosely defined stage area in the open and performers who play electronic instruments on free, sound producing applications following a predefined plan.

With the term «living installations», Marcel Zaes aims to conceptualize a novel form of artistic practice within the visual arts which transgresses the boundaries of sound art, classical composition, performance and installation art. Zaes uses the concept to describe those of his works that blend the ephemeral character of sound art with the three-dimensionality and site-specificity of installation art. The resulting oscillation between the performative, as embodied by the performers employed, and between the installative, represented by the various objects placed in the scene, is what constitutes the «living» and the «installation» elements of this new genre. In merging objects and human performers into plain sound-producing elements, both components are transformed into living sculptures; hierarchically equivalent constituents of a single, living space.

Setting #21 takes place as a cursory «Living Installation» on Saturday, June 8th, 2019 at 11:00 at a not announced location in the greater Zurich area.

Setting #22 takes place as a cursory «Living Installation» on Saturday, June 8th, 2019 at 12:00 at a not announced location in the greater Zurich area.

Setting #23 takes place as a cursory, mediatized performance on Saturday, June 8th, 2019 at 20:00 at Cabaret Voltaire.

This «Fun & Fury!» Performance is part of the program Theatre of Sound curated by Philipp Cron (CH)

Free entrance!

by Galerie (INT)

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With works by Krõõt Juurak, Valentina Desideri, Jennifer Lacey, Audrey Cottin, Jonathan Burrows and Jan Ritsema.

GALERIE is an immaterial art gallery dealing exclusively with immaterial artworks. Galerie represents artistic practices that mainly manifest through performative formats. The mission of Galerie is to support and promote immaterial objecthood: works that cannot be reduced to material objects nor the documentation of an action. Galerie circulates artworks by representing them as well as offering them for sale. In collaboration with the artists, economical formats and “representations” are tailored to each artwork, offering unique opportunities for the artwork to extend and disseminate on its own terms.

Group Show is an exhibition of immaterial artworks in the format of a performance.The artworks span over a wide range of media like dance, therapy, poetry, conflict and others.All of which could fit into the category of what we call immaterial artworks.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program It Takes All The Fucking Time curated by Michelangelo Miccolis (IT).

 

Biography Galerie (INT)

Simon Asencio (FR) is a visual artist, choreographer and performer. His work has been presented at venues such as De Appel arts centre Amsterdam, Independent Brussels, CAB-Contemporary Arts - Brussels, La BF15 - Lyon and Live Works - Dro, Italy. He has performed extensively on projects by Mårten Spångberg, Jérôme Bel, Xavier Le Roy and Dora García.

Adriano Wilfert Jensen (DK) works with dance and related practices. In collaboration with Emma Daniel, Linda Blomqvist and Anna Gaiotti he is since 2014 organizing Indigo Dance Festival, an artist run festival experimenting with formats of display, transmission and production of dance. Furthermore he is regularly touring with his own work as well as performing in the works of other artists such as Mårten Spångberg, Anne Imhof and Dora García.

Ein Zeichenspiel von Till Velten (DE)

Mit Abt Urban Federer im Hotel Atlantis by Giardino am Fusse des Üetliberg.

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Veranstaltungsort: Hotel Atlantis by Giardino, Döltschiweg 234, 8055 Zürich
Schweiz
 
Till Velten im Gespräch mit Abt Urban Federer, Abt des Klosters Einsiedeln und weiteren Gästen.
Vortrag Mgr Dr. Urban Federer: «Der Körper in der mittelalterlichen Mystik»
 
Mehr zum Zeichenspiel hier.
 
Video: Studio Velten in Kooperation mit der „Anderen Maria“
 
 

Die Andere Maria - Ein Trailer zum Zeichenspiel (Kopie) (Kopie)

by Jimena Croceri (AR) & Sarina Scheidegger (CH)

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For the performance «Nosotrxs, Cuerpos de Agua» Jimena Croceri and Sarina Scheidegger have been developing a variety of sounds and noises coming from different sources like objects, recordings, live voices and texts. All of them connect in their own way to fluid conditions which are among others inherent in our bodies, the sea, (sound) waves, coconuts or glaciers. Not only are these fluids inherent in our bodies but moreover share parts of each other between them. Being inspired by the text «Bodies of water» by Astrida Neimanis - where she describes the pathway of a glass of water and how this glass of water we drink makes its way to the filtration plant towards hydroelectric power to an aquifer until it ends in a bottle of water from which we may drink again – the artists have tied their elements of the performance to the topics of (hydro)feminism, fluidity and the movement of liquids. In combining their different elements of objects and texts, spoken and chanted words and subtle movements with their bodies the two artists have created a collaborative practice which will further on develop in new appearances and performances.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Not Alone curated by Søren Berner (DK)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biographies

Jimena Croceri lives and works in Buenos Aires. As a current fellowship of the exchange program «Coincidencia» by Pro Helvetia she is working with different mediums between performance, drawings and objects. Exhibitions and performances include, among others, Museum of modern Art (Buenos Aires), Faena Art Center (Buenos Aires), Ausstellungsraum Klingental (Basel), Flora Ars+Natura (Bogotá)

Sarina Scheidegger is an artist based in Basel, working in different collaborations. She received the “Swiss Performance Award” in 2012 as well as a the working grant of the city of Basel together with Ariane Koch in 2015. Her work was shown among others at Crisper (Bogota), Kunsthalle Basel (Basel), Swiss Art Awards, (Basel), Haus der Kulturen der Welt (Berlin), IPA Performancefestival (Istanbul).

by Adam Hines-Green (UK)

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Malignant Potential will operate as a lecture-performance spreading through the space of Cabaret Voltaire. It takes as a starting point the biological phenomenon of cancer. Cancers consist of cells which stimulate their own limitless growth, are unresponsive to the body’s attempts to restrict this growth, and, critically, expand locally before spreading and invading distant sites in the body until the entire organism perishes. Cell growth is strictly programmed and essential for living, but, when uncontrolled, leads to death of the entire body – suffocation through overproduction. Constantly growing and continuously adapting, cancers are better at living than we are.

Malignant Potential considers the parallels between these characteristics and certain economic and cultural models of growth and achievement. Considered as a swarm of cells, the individual and collective responsibilities of the audience are addressed through highlighting modes of behaviour, movement and language. Does uncontrolled rampant individualism necessarily operate at the expense of others? What are the necessary conditions for collective flourishing when individual growth and spread are components of success?

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Are we bodies? curated by Vlada Maria Tcharyeva (CH)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biography Adam Hines-Green (UK)

is an artist and writer based in London. He graduated from the Royal College of Art with an MA in Sculpture in 2018, and has degrees in Medicine from University College London and Medical Sciences and History of Art from the University of Cambridge. Recent exhibitions and performances include Meantime, Kilburn Arches, London; The Sky Has No Surface, Berwick Fringe, Berwick-upon-Tweed; Too Much Information, Seventeen Gallery, London; On Describing Surface Features, Filet, London; Situation 3, 26b, London; Critical Cartographies, Filet, London (all 2018). His writing has been awarded the Michael O’Pray Prize 2018 and was published by Art Monthly, and he was recently shortlisted for the International Awards for Art Criticism and the Burlington Contemporary Art Writing Prize.

by Last Yearz Interesting Negro (UK)

with Lily Fernanda Muñoz-Newsome (UK)

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«Last Yearz Interesting Negro» is the name used by Jamila Johnson-Small, whose work considers the immediacy of the gaze and puts forward the idea that looking creates meaning. They focus on steering or directing this gaze, rather than evading it and their interest in grappling with an invasive gaze can be traced back to the intense scrutiny that dancers’ bodies are placed under during formal training. Arms, hips and legs. The back arched and the torsos twisted. This fetish of the body, a scopophilic pleasure in looking at how impressively a dancer moves, is mapped onto the social constructs that dictate how each body moves through the world. Johnson-Small navigates the overlap between cultural signifiers and what a specific body, on a musculoskeletal level, is prepared to do and questions what effect it has on how the body moves.

Johnson-Small’s alias – Last Yearz Interesting Negro – is a sarcastic reprise of a scene in Julian Schnabel’s biopic Basquiat (1996) that reflects on the tendency for white cultural workers’ (gallerists, curators, critics) to display fleeting excitement over a particular black artist, only to lose that interest in place of the next hot trend. The alias reflects on being gazed upon, too, if not for more than a moment.

On the occasion of the presentation at Cabaret Voltaire, Last Yearz Interesting Negro will stage a site-specific intervention.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program It Takes All The Fucking Time curated by Michelangelo Miccolis (IT)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Image: Last Yearz Interesting Negro, FuryZ 2018. Commissioned by Block Universe in partnership with Gaia Art Foundation. Image by Anne Tetzlaff.

 

Biography Last Years Interesting Negro

Jamila Johnson-Small (UK)

Trained in Contemporary Dance and working with choreography, video, sound and sculpture, Jamila Johnson Small (London, UK) is interested in building atmospheric landscapes through the live unfolding of the tensions between things that produce meaning. Of Caribbean descent, born and based in London she has formed long term collaborations with other artists including Project O with Alexandrina Hemsley, immigrants and animals with Mira Kautto. More recently she performs in work by Fernanda Munoz-Newsome, collaborates with Rowdy SS, runs HOTLINE with Sara Sassanelli, and GUSH with David Panos, a semi-regular low-key DIY event.

Ein Zeichenspiel von Till Velten (DE)

Mit Hildegard Matheika, Khaled Aga und der Position Prof. Dr. Gert Overbeck

Details verbergen

Bloody Mary Bar ab 19:30 Uhr
Gespräch ab 20:00 Uhr

Till Velten im Gespräch mit den Gästen Hildegard Matheika, Medium und Rückführerin aus Mönchengladbach und Khaled Aga, Sänger aus Wien und Syrien.

Position Prof. Dr. Gert Overbeck: «Stigmata: Geschichte und Psychosomatik eines religiösen Phänomens»

Overbeckt ist ehemaliger Direktor der Klinik für Psychosomatische Medizin und Psychotherapie an der Johann-Wolfgang-Goethe Universität Frankfurt

Eintritt: 20 CHF inkl. Bloody Mary

Reservation: info@cabaretvoltaire.ch

Mehr zum Zeichenspiel hier.

Begrüssungsvideo: Studio Velten in Kooperation mit der «Anderen Maria»

by Steven Warwick & Carlos María Romero

in the frame of «Zurich Moves»

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«HQ: (I feel so Mezzaniney)» ist eine Verschmelzung von Warwicks ortssensitiver «Mezzanine»-Serie und Maria Romeros Interesse an Go-go als Ausdrucksform zwischen Performance und Dekor.
In diesem fiktiven Hauptquartier verrichten die Tänzerinnen (Las Mezzaninas) als Dienstmädchen Arbeiten und tragen klassische Konflikte des Plattformkapitalismus aus, in dem Selbstpflege-Rituale und die Bildung von Gemeinschaften monetisiert werden und Gaslighting, eine Form psychischer Gewalt, jegliches Vertrauen zerstört. Sie leben in einer Welt, in der Körper und Klang zerlegt und auf minimale Rhythmen reduziert werden, um eine Atmosphäre zu schaffen, in der Geld bewegt werden soll.
In der Reflexion zeitgenössischer Gefühle der Isolation wird deutlich, dass Fragen der Handlungsmacht und auffällige Darstellungen sozialer Interaktionen unweigerlich mit diesem beunruhigenden Zeitalter des Populismus verbunden sind.

HQ: (I feel so Mezzaniney) is a collaboration conflating Warwick’s site sensitive ‘Mezzanine’ series and Maria Romero's interest in Go-Go as form of work half way between performance and decor.

In this fictive HQ the dancers (Las Mezzaninas) are maids-in-waiting, performing labour and acting out the conflicts found in, and on, platform-capitalism, where self-care routines and community-building are monetised, and gaslighting fragments trust. They inhabit an ecology where bodies and sound are dissected and reduced to minimal rhythms sculpting an ambient to make money move.

Reflecting upon contemporary feelings of isolation, questions of agency and conspicuous displays of social interactions are linked to an age of unsettling populism.

Teaser

Credits

Concept, direction: Steven Warwick & Carlos Maria Romero

Music, text: Steven Warwick

Choreography, performance: Carlos Maria Romero

Performers: Indward De Jesus Romero Mercedes

Production: Michel Hart

Photo credit: Photos by Pedro Anguila

Video credit: Developed at FUGA, video edit by Ana Escario

Biographies

Carlos Maria Romero aka Atabey Mamasita

UK-based Colombian multidisciplinary artist / performer. Founder of SPIT! –Sodomites, Perverts, Inverts Together! with whom they wrote (initially for Frieze Projects 2017) and perform a series of queer manifestos ; Vividero Colectivo –multidisciplinary artists and architects re-claiming as cultural heritage historically marginalised social practices and architectural sites; and Vogue-Chi, a multi-generational queer and allies movement practice and safe space for self-expression and coming together.
www.carlosmariaromero.com


Steven Warwick is an artist musician and writing based in Berlin.
Warwick’s practice is paradigmatic of an interdisciplinary approach that encompasses DJing and theatre-making along with art, music and writing. His work is disseminated on a multitude of platforms including records, galleries, nightclubs, publications and the Internet. Across these contexts, Warwick creates assemblages of performance, image, sound and language that speak to the ways in which ideologies construct and inhabit spaces, online and offline – from co-working spaces to clubs, television shows and online chat rooms. In its pluralistic live forms, Warwick’s work redefines the expectations and conventions that accompany events such as concerts and public lectures.

by Mavi Veloso

in the frame of «Zurich Moves»

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DE:

Dieses Mal begann ich auf dem Boden. Etwas wird geschehen: Eine Explosion, die Zerstörung aller Ideen. Mit geschlossenen Augen halte ich das Mikrofon in meiner Hand. Ich lasse es über den Boden streichen, zeichne mit den Geräuschen eine Karte meiner Wege. In kompletter Dunkelheit lässt nur das Blitzlicht der Kameras erahnen, wie sich Bilder allmählich entwickeln. Können wir uns in Sicherheit wägen? Ich drehe die Lautstärke auf: Ich muss dich hören. Du musst mir zuhören. Dieser Soundtrack wird zu unserem Liebespakt. Ich tanze, krieche und gehe. Als ob diese Dunkelheit eine Revolution herbeiführen könnte.

MUDA/MUTE (stumm) ist Teil des Projekts #iwannamakerevolution. Eine Recherche, welche Mavi Veloso im Master of Voice am Sandberg Institut in Amsterdam, im Postmaster an der A.PASS in Brüssel sowie in Residenz bei ArtsEverywhere.ca erarbeitet hat. iwannamakerevolution.artseverywhere.ca

EN:

This time I started on the floor. I was afraid that what was going to happen could be a big destruction, something to explode everyone’s ideas. With eyes closed, I have the microphone in my hand. I touch it on the floor as if sticking the surface with sound could map me wherever to go. In complete darkness, camera flashes are the only way to highlight images gradually in development. We wonder if there’s possibility to be safe until the end. I turn up the sound as high as possible. I need to hear you, you need to hear me, we need to hear what. So how can we make this soundtrack become our pact of love? How can we make this noise witness the crime between you and I? I dance, I crawl, I walk... As if this blindness could turn revolution something possible.

MUDA/MUTE is part of the project #iwannamakerevolution, a research conducted at Master of Voice at the Sandberg Instituut in Amsterdam, postmaster research at A.PASS in Brussels, Belgium, and project in residency at ArtsEverywhere.ca iwannamakerevolution.artseverywhere.ca

Duration:
40min

Teaser

Biography

Mavi Veloso is a Brazilian performer based in Amsterdam who works transdisciplinary integrating visual art, dance, theater and music. Her work explores performativity, the relationship between performer and audience, trans feminism and decolonization. As a transgender migrant from South America to Europe, Mavi seeks to embody and appropriate the transformation process, psychological, social and physical, conflicts and cultural adaptation procedures, as well as fashion, queer, trans and drag queen elements to question gender technologies, notions of identity, sexuality, placement and displacement. She has presented in venues and festivals including the van Abbemuseum in Eindhoven, Kampnagel in Hamburg, Kunstenfestivaldesarts in Brussels, Les Urbaines in Lausanne and the 31st Biennial of São Paulo.

Credits

Concept and performance: Mavi Veloso
In Collaboration with: Caio Cesar, Glenn Ryszko, Raphael Daibert, Olga Dimitrijević.
Many thanks to: Thiemi Higashi (video maker), COMO Clube São Paulo, Advanced Performance and Scenography, Pierre Rubio, Lilia Mestre, Perform Back Score Sessions, Nicolas Y Galeazzi, Elke van Campenhout, Adva Zakai, Peter Stamer, Philippine Hoegen, Performing Arts Forum , Sign 6 Brussels, Free Home University, Ammirato Culture House (Lecce), Master of Voice, Lisette Smiths, Marnie Slater, Paul Elliman, Dorothé Orczyk, Snejanka Mihaylova, and all colleagues from Master of Voice/Sandberg Instituut, Suzy Block, Dansmakers, @Jacuzzi Amsterdam.

by Luis Garay

in the frame of «Zurich Moves»

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DE:

Die Performance Oro Lodo (Golddreck) strebt mit grosser Dringlichkeit danach, die Fiktion des Materiellen zu entlarven, wonach alles, was nicht wir sind, uns mit Leben füllt. Luis Garay schafft Umgebungen, in denen Arbeit und Freizeit, Produktion und Reproduktion untrennbar sind. Der Titel Oro Lodo bezieht sich auf den Neobarroso, der vom queeren Schriftsteller und Aktivisten Nestor Perlongher (*1949, Argentinien; †1982, Brasilien) begründet wurde. In dieser verrückten Idee der Rückkehr eines dreckigen Neobarocks sucht das Stück nach einem Schlüssel zur Interpretation der Gegenwart, die voll ist von endlosen Wiederholungen und einer nutzlosen Üppigkeit. Das Stück ist ein Experimentierfeld für Verknüpfungen und Wahrnehmungen, die sich als Gegenvorstellung dessen ergeben, was der Mensch darstellt.

EN:

Oro Lodo works with material fictions where all that is not us is actually animating us. Through proliferation of signifiers, iteration without end and useless voluptuousness, the work creates a landscape where leisure and work are inseparable. Using the twisted idea of a return to a soiled and mudy neo baroque (proposed by Argentinian writer and activist Nestor Perlongher) the piece is a testing zone to assemblage other couplings and states of perception that arise from a counter-imagery of what is represented as human.

Duration:
180min

Credits

Artistic direction Luis Garay Supported by Prodanza, Museum of Modern Art of Buenos Aires (MAMBA)
Photo ©Triana Leborans

Biography

Luis Garay deals with detailed environments where ideas of labour and exercise explore simultaneous states of pleasure, alienation, emptiness and shared agency. He is constantly interested in the question of where a body is. This concern for "localization" traces the constant rendering of subjectivities without coordinates, in exile. He presented recently at The Walker Art Center, Minneapolis, The Vienna Festival, Matadero Madrid, Kyoto Experiment Japan, Pompidou Metz, Theater International de la Cite, Paris, Montpellier Danse, SESC Sao Paulo, Panorama Festival Rio de Janeiro, among many others.