Performances

«Are we bodies?»

Kuratorin: Vlada Maria Tcharyeva (CH)

 

Biographie Kuratorin anzeigen

After finishing her MA in 'Art & Politics' at Goldsmiths, University of London in 2011, Tcharyeva worked as Assistant Curator at Vitrine, London (UK), where she curated group exhibitions with work by Athena Papadopoulos, Nicholas Brooks, Samara Scott, Phillip Reeves and many more. Her most recent project was a site-specific two-person installation with Adam Hines-Green and JJ Lincoln at the Maygrove Arches for the ArtLicks weekend in October 2018. For the last three years, Tcharyeva has developed a deep interest into human bodies and physical vigour, which intersects with her activity as yoga instructor and art technician across various sites and institutions in London. Tcharyeva also runs a female-dominated technician group called “Space Babes” and is a singing member of ‘f*choir’, which is musically directed by performance artist Jenny Moore. ‘f*choir’ is a collective, intersectional feminist choirthat considers the voice as a way of creating resistance and the body as a living archive of the songs they sing. For 2019, Tcharyeva will be curating a program centred around the human body which she raises as the open question ‘Are we bodies?’ wihtin the premises of Cabaret Voltaire.

Statement Kuratorin anzeigen

Dismantled by gender questions and defeated by commercialism, contemporary art’s urgency to reinvent the human body has come to a vivid point. Retrospectively speaking, a variety of absorptions regarding human physique have influenced, if not driven the critical transitions of art-historical periods. The aim of «Are we bodies?» is to foster these periods with performances that are appropriated to the time we’re living in now.

An essential aspect of the program is to keep the curatorial direction as an open question rather than compartments which attempt to define the various categories of the human body in performance art. In the tradition of experiment and improvisation, the program includes contributions that unfold new realities of performative gestures, perhaps deepening earlier raised ideas into a new gaze or form.

As figure and expression have shooked hands with each other as subject matter in the ancient period, so have artists with the usage of the human body in modern and more recent works. Drugged perhaps, by a slightly more rebellious approach, the Avantgarde pioneers in the 19th century have started to use their bodies as an autonomous way to «combat all historical reconstructions and traditional stage sets» as stated in Pratella’s manifesto of futurism musicians. What’s more is that Ball’s dada manifesto intersects poetry and language with quite a literal anatomy of terms: «Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh.». This statement connects «Are we bodies?» to the historical significance of the hosting institution Cabaret Voltaire.

The intersection of language and body will be a first subsequence of the question, presenting performances that elaborate the status of the human body within the peripheries of linguistic play. Take Sophie Jung’s interplay with poetry, objects and costumes. Her associative word chains are running and dancing, ebbing and flowing, entering and leaving her body. It’s as if each object and its according articulation, produces a new layer of physical embodiment, which Sophie weaves into a lingual anatomy of her own.

A second notion within «Are we bodies?» is to raise questions about political agency, gender normativity and race. By critically spinning the so-called «ghost» of the Avante Garde away from the white «bad boy» image of the male-dominated Avante Garde, the aim is to move towards a more transgressive and feminine orientation. A major influence is the American civil rights movement and second wave feminism, considering the body as essentially political. It is in this sense that the practice of political and physical collapse is driving Libita Clayton forward. Sites are responded to physically: walls are wormholes with feelings, bodies map as what Clayton refers to as «historically-bumpy» landscapes, considering performance as a means of resistance to dominant and linear narratives that have to be reconsidered and socially authenticated.

Lastly, and as the third section, the focus in «Are we bodies?» aims to expose ideas entailing anatomical elaborations of the human body and the embodiment of objects in human bodies, in a way that there is a sense of detail or accuracy in their presentation. Although this is not limited to performances that have resemblances with medical studies, it is worth pointing at Adam Hines-Green’s performance «A Digestive Tract», an interactive performance delivered in the former science classroom of a disused school building in the village of Gorna Lipnitsa, Bulgaria in 2017. This charted a journey through the anatomy of the digestive tract from mouth to anus using found props, furniture, and the surrounding architecture. A reenactment or continuation of the same performance will be held at Cabaret Voltaire.

In closing, «Are we bodies?» will present a series of performances examining linguistic elements, gender-criticism, the political, human anatomy and physical embodiment in contemporary performance art.

by Adam Hines-Green (UK)

Details verbergen

The performance will be a continuation of themes explored in A Digestive Tract (2017), an interactive performance delivered in the former science classroom of a disused school building in the village of Gorna Lipnitsa, Bulgaria. This charted a journey through the anatomy of the digestive tract from mouth to anus using found props, furniture, and the architecture of the classroom. X-rays of a variety of pathological conditions preventing progress through the digestive tract were also discussed. Photographs found in the school depicting military and industrial exercises in Bulgaria from the 60s and 70s were included on the walls but never explicitly discussed. The artist exits through the anus/first floor window to conclude the piece.

The performance at Cabaret Voltaire will utilise some of the familiar tropes of this performance, including anatomical references and medical science demonstrated through found objects in the building and the architecture of the room, as well as movement of the artist and viewer through the space. The found objects and architecture will serve as uncanny models of unconscious biological processes, as the biological processes serve as uncanny models of wider social and political concerns. The performance in Bulgaria used the space of the classroom to explore the possibility of a biology lesson on the digestive system signifying a cultural conception of personal and social ‘progress’, and the performance at Cabaret Voltaire will operate in a similar fashion.

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.

with Dylan Spencer-Davidson (US)

Details verbergen

Spencer-Davidson will develop a site specific performance, working with performance, music and video. His practice is concerned with the mediation of affect, desire and embodiment in interpersonal communication. His performances are the result of research processes into psychological and physical therapies. In Spencer-Davidson's work, physical movement is used as a strategy to bypass the conscious, ever-rationalising mind, and access embodied vocabularies that productively challenge the dominant doctrines of our time.

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

Image: Dylan Spencer Davidson: «I don't feel safe to tell you», Performance at Haus N, Athens, 2018.

Biography Dylan Spencer Davidson (US)

lives and works in Berlin and London. In 2012 Spencer graduates in Master of Fine Arts at the Royal College of Art in London after completing his Bachelor in Literature at the University of Cambridge in 2010. His recent performances have been presented at FS, Liverpool (2018); Haus N, Athens (2018); OUTPOST, Norwich (2018), Ashley, Berlin (2017); Evening Class, London (2017); Studio Voltaire, London (2017); V&A, London (2017); Guest Projects, London (2017); Eastside Projects, Birmingham (2016). He completed a BA in Modern and Medieval Languages at the University of Cambridge and an MA in Communication Art & Design at the Royal College of Art, London.

with Sophie Jung (CH)

Details verbergen

Sophie Jung performances are interplays between poetry, objects and costumes. Her associative word chains are running and dancing, ebbing and flowing, entering and leaving her body. It’s as if each object and its according articulation, produces a new layer of physical embodiment, which Sophie weaves into a lingual anatomy of her own.

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!)

Image: Sophie Jung; Blain-Southern, 2018; Source: artviewer

Biography Sophie Jung (CH)

lives and works in London) received her BFA from the Rietveld Academy, Amsterdam and her MFA from Goldsmiths, London. Recent projects and exhibitions include Äppärät at Ballroom Marfa, Eh, co? Nah cis. Us! at Kunsthalle Basel for Jungs, Hier Kommt der Masterplan, Uncanny Valley at Wysing Art Centre, Cambridge, UK, Tarantallegra at Hester, NY as well as Unmittelbare Konsequenzen at Kunst Halle Sankt Gallen. She is currently working on a body of sculpture & performance for her upcoming solo exhibition at Kunstraum London as well as finishing a new piece of writing for The White Review. In 2015 Sophie has spent 6 months in New York at ISCP, courtesy of the Edward Steichen Award Luxembourg and in 2016 she won the Swiss Art Award. Recent solo shows include The Bigger Sleep (Manor Kunstpreis) at The museum of contemporay art in Basel (CH) in November 2018, as well as Come Fresh Hell or Fresh High Water, Blain Southern, London, UK and It's Not What It Looks Like, Sophie Tappeiner, Vienna, AT and Producing My Credentials, Kunstraum London, UK in 2017.

with Libita Clayton (UK)

Details verbergen

The practice of political and physical collapse is driving Libita Clayton forward. Sites are responded to physically: walls are wormholes with feelings, bodies map as what Clayton refers to as «historically-bumpy» landscapes, considering performance as a means of resistance to dominant and linear narratives that have to be reconsidered and socially authenticated.

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!)

Image: Libita Clayton: «I’m not my. My…..my injuries are healed now, but I still don’t remember things.»; Fledgling, Octavia. E. Butler, 2005, 2018.

Biography Libita Clayton (UK)

is a UK based artist. She graduated with a BA (Hons) in Print & Digital Media from Wimbledon College of Art, University of the Arts London in 2009. Recent exhibitions and performances include: This is the Gallery , the Gallery is Many Things X, Eastside Projects, Birmingham; 4717, RCA/LUX, Dyson Gallery, Royal College of Art, London; Memento Mori, Kalashnikovv 3.0, Johannesburg, (2018); DEBUNK, Arnolfini, Bristol; Going Along Without a Body, Iklectik, London; History Lessons: Fluid Records, South London Gallery, Iniva, London; Lexis Over Land – Towards a Feminist Geography, Tremenheere Sculpture Gallery, Cornwall; Diaspora Pavilion, 57th Venice Biennale; (all 2017); Gal-Dem WOC friday late, Victoria and Albert Museum, London; Beyond words, Book Works, Central Library, Hull; and Hard Copy, Home.alone, Clermont – Ferrand (all 2016).

«It Takes All The Fucking Time»

Kurator: Michelangelo Miccolis (IT)

Biographie Kurator anzeigen

Michelangelo Miccolis is a visual arts performer and producer. Since 2005 he has worked internationally on projects by renowned artists including: Tino Sehgal, Venice Biennale (2005), Fondazione Trussardi, Milan (2008), Tate Modern, London (2012), Palais de Tokyo, Paris (2016), Volksbühne Berlin (2017); Romeo Castellucci / Socìetas Raffaello Sanzio, on tour (2007-2009); Dora García, Venice Biennale (2011 and 2015), Museo Reina Sofia (2018); Christodoulos Panayiotou, Venice Biennale and IUAV University (both 2015) and Cally Spooner, CAC Géneve (2018).

Since 2017 he is the performance programmer of «Immaterial» at Material Art Fair in Mexico City, as well as guest-curator at Cabaret Voltaire, Zurich.

Current and upcoming projects include: The Army of Love, in collaboration with Ingo Niermann and Dora García (ongoing); OFFSHORE in collaboration with Cally Spooner (ongoing), «Immaterial Vol. 3», Material Art Fair, Mexico City, 7 - 10 February, 2019.

Statement Kurator anzeigen

«Maintenance is a drag; it takes all the fucking time (lit.)» writes Mierle Laderman Ukeles in her 1969 Manifesto for Maintenance Art.

Looking at this timeless statement by Ukeles as a reminder for a modus operandi in a troubled present, «It Takes All the Fucking Time» brings together a selection of proposals by writers, visual artists, dance and theatre-makers alike, who work either individually or collaboratively in generating new platforms for knowledge exchange, as well as alternative models for the circulation and distribution of different practices.

This new series invites projects led by figures who perform under a stage name,a business model, a trademark, a temporary formation, or simply by working in the company of others per sé.

by Jurgen Ots (BE) and Kjersti G. Andvig (NO)

Details verbergen

«Monkey Business» is a new time-based collaboration between visual artists Jurgen Ots and Kjersti G. Andvig. Part temporary occupation, part open studio, «Monkey Business» looks at the politics of collaboration in the public realm via unscripted occurrences, mad assemblages and unexpected encounters.

On the occasion of the presentation at Cabaret Voltaire, «Monkey Business» 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!)

Biographies Monkey Business

Jurgen Ots (BE) studied at Sint-Lucas Brussels. Solo exhibitions include (selection): The Periaqueductal Gray Series, Galleria ZERO, Milan, 2014; Periaqueductal Gray, Elisa Platteau, Brussels, 2013; La Porte de l'Enfer Elisa Platteau & Cie Gallery, Brussels, Belgium, 2012. His work was also shown in the following group exhibitions (selection): What are we going to paint, Anette Gelink Gallery, Amsterdam, 2016; Hearing colors tasting shapes, Aike Dellarco, Shanghai, 2015; Dust, center for contemporary art Ujazdowski Castle, Warschau, 2015; An Exchange with Soll Lewitt, MASS MoCA Massachusetts, USA, 2011.

Kjersti G. Andvig (NO) grew up on the Lofoten islands where she studied for one year at Kabelvåg Art and Film school. She graduated from the National Academy of Art in Oslo in 2003. As an artist, her work often takes the form of long-term commitments to situations that demand complete personal dedication. She has had solo exhibitions at Rekord, Oslo, Triangle, Marseille, and Akershus Kunstsenter, Lillestrøm, and her work has been seen in group exhibitions including Lights On at the Astrup Fearnley Museum, Oslo, the Carnegie Art Award exhibitions in 2010 and the Lofoten International Art Festival, 2011.

by Jamila Johnson-Small (UK)

Details verbergen

«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, Jamila Jonhson-Small 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 / Jamila Johnson-Small, I ride in colour and soft focus, no longer anywhere, 2016.

 

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.

by Galerie (INT)

Details verbergen

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.

Details verbergen

DEBORA DELMAR CORP. is the name Débora Delmar (MX) adopted for the distribution of her artwork in 2009 while attending the School of Visual Arts in New York, USA. The projects of Debora Delmar Corp. have explored topics such as trending color schemes in branding, corporate merchandising techniques IRL and url, class issues created by producer and consumer relationships, international trading markets, as well as local and mass production; real estate, home decor and commercial interior design as contexts for consumption, business ideology and the circulation of images from high to low culture. The Debora Delmar Corp.'s logo was in fact commandeered by a chain of hospitals in Los Angeles and later tattooed onto the hips of supermodels Cara Delevigne and Jourdan Dunn.

On the occasion of the presentation at Cabaret Voltaire, Débora Delmar will stage a site-specific intervention.

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

Free entrance!

Biography Debora Delmar Corp.

Débora Delmar (MX).

Recent exhibitions include: Museo Universitario del Chopo (solo), Mexico City; BB9 Berlin Biennale 2016, Berlin; Museum of Contemporary Art Denver, 2015; Modern Art Oxford (solo), 2015.

by Cally Spooner (UK)

Details verbergen

«Offshore» is an itinerant performance company and pedagogical structure initiated by Cally Spooner to draft new vocabulary and terms of how to organise, work, and perform together. Arriving from literature, theatre, and a messy, unrequited love affair with philosophy, «Offshore» sits somewhere between a philosophy school for embodied knowledge, an engine, an alibi, a backroom, a rehearsal, and some deliberate, unguaranteed, social plumbing.

Previous presentations include: La Fundición, Bilbao (ES); Playground Festival, Leuven (BE); Stanley Picker Gallery, Kingston (UK); NTU Centre for Contemporary Art, Singapore (SG); Centre National de la Danse, Paris (FR).

On the occasion of the presentation at Cabaret Voltaire, OFFSHORE will be led by Cally Spooner, Michelangelo Miccolis plus one guest to be announced.

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!)

Biography Offshore

Cally Spooner (UK) lives and works in Athens. Her recent solo exhibitions include: “DRAG DRAG SOLO” at CAC Genève, Geneva (2018); And You Were Wonderful, On Stage” at Stedelijk Museum, Amsterdam (2016); “On False Tears and Outsourcing” at The New Museum, New York (2016); and “The Anti-Climax Climax” at Bielefelder Kunstverein, Bielefeld, Germany (2015). Her recent live productions have been presented at Tate Modern, London (2014); Tate Britain, London (2014); the High Line, New York (2014); Stedelijk Museum, Amsterdam (2013); and Performa 13, New York (2013). Spooner’s work has been included in group exhibitions at the Aspen Art Museum (2015); REDCAT, Los Angeles (2015); Frieze Projects, London (2015); Kunstverein München (2014); Frieze Projects, New York (2014); KW Institute for Contemporary Art, Berlin (2013); Jeu de Paume, Paris (2013); and the Serpentine Gallery, London (2012). She is a 2013 recipient of the Paul Hamlyn Foundation Award and the author of the novel Collapsing in Parts, published by Mousse in 2013.

A multi-disciplinary project initiated by writer Ingo Niermann.

Details verbergen

As the «Army Of Love» proclaims, «…romantic love is saturated with commoditization. The socialistic premise behind «free love» crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love.»

They point out a missing link in Marxist analysis: even in a society where there is access to basic needs, commodities, and structures, attractiveness is not distributed equally, «leaving out those considered to be old, ugly or unsuccessful.» The practitioners of the Army offer all-encompassing love - one that includes care, desire, sex, and respect absent of maudlin emotions yet full of gratitude - to all those who need it.

Army of Love is a multi-disciplinary project initiated by writer Ingo Niermann in collaboration with invited guests.

Previous presentations include: Wiesbaden Biennale, MACBA, Barcelona, CASCO Utrecht, LA CASA ENCENDIDA, Madrid.

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!)

Biography Army Of Love

Ingo Niermann (DE) is a writer and the editor of the speculative book series Solution. His work has been featured at Berlin Biennale, Istanbul Biennale, dOCUMENTA (13), La Biennale di Venezia, MACBA and MoMA. Niermann studied Philosophy and Sociology at Freie Universitat Berlin and is currently living in Basel.

«Theatre of Sound»

Kurator: Philipp Cron

Biographie Kurator anzeigen

Philipp Cron (CH) kuratiert und organisiert seit Anfang 2017 die «Soirées Musicales» im Cabaret Voltaire. Das breit angelegte Programm stellt die unterschiedlichen Formen der elektronischen Musik sowie unkonventionelle Herangehensweisen und den performativen Umgang mit Klang in den Vordergrund. Aus Kollaborationen nationaler- sowie internationaler Künstler/innen sollen spartenübergreifende Arbeiten entstehen, die im Cabaret Voltaire uraufgeführt werden. Cron absolvierte einen Bachelor in Musik und Medienkunst an der Hochschule der Künste Bern sowie in der Medialen Kunst an der Zürcher Hochschule der Künste. Cron ist Komponist und Organisator.

Statement Kuratorin anzeigen

«Theatre Of Sound» is a sound-performance series curated by Philipp Cron for Cabaret Voltaire. «Theatre Of Sound» explores the area between composition and performance art. How should music be composed, performed and listend to today? How does the corelation between body, instrument, room and audience sound?

Nils Amadeus Lange (DE) & Samuel Savenberg (CH) mit Daniel Rajcsanyi

Details verbergen

Chronos tritt auf. Die Uhren sind stehen geblieben, wie nach einer Explosion. Auf den Strassen Müll aus vergangener Zeit. Versteinerte Happy meals. Asphaltierte Kotze geschichtet auf Vergissmeinnicht.Horizontal verlaufende Kulturschichten sind freigelegt, doch die Menschen können sie nicht mehr lesen.


Musik: Samuel Savenberg ( S S S S )
Choreografie: Nils Amadeus Lange
Performer: Daniel Rajcsanyi

Dieser «Fun & Fury!» Performance Dienst-Tag ist Teil der Theatre of Sound Reihe, die von by Philipp Cron (CH) kuratiert wird.

Eintritt: CHF 10.- (Cabaret Voltaire Mitglieder: gratis!)

Biographie Nils Amadeus Lange (DE)

works as a performer and choreographer in Zurich. After completing his drama studies at Hochschule der Künste Bern, he began withdrawing from theater, shifting his focus to abstract forms of expression, dance and performance history during his master's program „Scenic Arts Practice“ (also at Hochschule der Künste Bern). He uses his body as a weapon, with which he pierces through the audience's heads, in order to subsequently dissect memories of conventions, role models and gender stereotypes from their brains.

Biography Samuel Savenberg (CH)

works in the fields of contemporary electronic music and media arts. He produces music under his S S S S monicker and from time to time writes about Club Culture for Swiss magazine zweikommasieben.

by Belia Winnewisser (CH)

Details verbergen

On the occasion of the presentation at Cabaret Voltaire, Belia Winnewisser will stage a site-specific performance.

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

This «Fun & Fury!» Performance Dienst-Tag/To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

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

Biography Belia Winnewisser (CH)

lives and works in Lucerne. She holds a Master's Degree in «Contemporary Arts Practice» of the Berne University of Arts. During her Bachelors in «Sound Art» at the Berne University of Arts she focussed on sound synthesis and minute motor acticity, the technical skills for audio installations as well as film and live-electronics. In the fall of 2016 Winnewisser studied in Bergen (NO) at the School for Art and Design with an emphasis on visual animation and prodicung electronic music. Today she performs in national as well as international art spaces. Next to her works and her musical solo projects she is active in the musical projects A=f/m (LU, BE) and Silver Firs (BE).

by Marcel Zaes (CH)

Details verbergen

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.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

Free entrance!

by Philip Glass (USA)

Details verbergen

Durational Performance based on the original score for «Einstein On The Beach» (1976) by Philip Glass.

«1, 2, 3, 4, 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 3, 4, 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 3, 4, 1, 2, 3, 4, 5, 6, –, 2, 3, 4, 5, 6, 7, 1, 2, 3, 4, 5, 6, –, 2, 3, 4, 5, 6, 7, 8....»

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH).

Details verbergen

The Residency is a temporary artist residency in the old town of Zurich. It runs from January until March 2019. During this time the selected artists will have space and time to concentrate on their works. In the end of March there will be a closing show in all the rooms of the large house. The performance slot of the 8th of October 2019 is reserved for one of the artists from «The Residency», whose work will be selected for Cabaret Voltaire.

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

This «Fun & Fury!» Performance Dienst-Tag/To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

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

by Philipp Cron (CH)

Details verbergen

Shift of emphasis, from object to subject, from external artwork to embodied experience.

This «Fun & Fury!» Performance Dienst-Tag/To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

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

«Not Alone»

Kurator & Co-Künstler: Søren Berner

 

Biographie Kurator anzeigen

Søren Berner (DK) works on the interface of performance, visual art and artistic intervention. His participatory approach allows for a crossing of boundaries between institutions, exhibition spaces and public spaces where the visitors becomes his complicities. The conditions under which his performances and co-operations are brought to life  together with the possible knowledge production generated as a result, seems to be constantly and critically evaluated and questioned - this in return often results in new works. Søren's works has been shown a. o. at the Istanbul Biennale; MAK - Museum of Contemporary Art, Vienna; Kunsthaus Zürich; Nikolaj Kunsthal, Copenhagen; Helmhaus Zürich; Gerschwin, New York; Burningman, Nevada.

Statement Kuratorin anzeigen

In Autumn 2017 I invited four artists to develop a performance on four separate evenings at Cabaret Voltaire - hence the name; Performance 4 Evenings. For this series I proposed a dogma to the invited artists: The Curator must be integrated. I hereby attempted to highlight my own role in producing and developing the projects. Though labeled as a curator, I do not consider it my role to develop exhibition-concepts that artists may or should try to relate to. I rather see my role as conflicting one that constantly has to be re- thought and renegotiated.

The performances are shown on one specific evening and there is a lot of effort and preparation put in to these four evenings prior to the performance.
I came to realize that the relationship and new ideas evolving from the continuous correspondence with the invited artists prior to the performances was far more important to me than the actual execution of the performances.

For this reason the co-creation evolving from the correspondences with the invited artists during the preparation period, will have a more central part in the new series. To make this work, I will try to create a conversation environment that facilitates and makes space for new ideas to develop during the preparations. The format is open, the rules are few.

Itʼs all about creating something new.

with Nino Baumgartner (CH) & Søren Berner (DK)

Details verbergen

Over the coming months Nino Baumgartner will be working with Søren Berner to produce a work created specifically for Cabaret Voltaire

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

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!)

Biography Nino Baumgartner (CH)

is based in Bern.
Selected shows and performances:
SHORTCUTS in Bern, Basel, Zürich, Stuttgart (2015-2018); MANEUVER / GROOVE SPACE, Tinguely Museum Basel, (2015); Maneuvers and Formation, Rockbund Museum, Shanghai, (2014); Helix Manuever, Kunsthaus Aarau, (2012)

with Mercedes Azpilicueta (AR) & Søren Berner (DK)

Details verbergen

Over the coming months Mercedes Azpilicueta will be working with Søren Berner to produce a work created specifically for Cabaret Voltaire.

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

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!)

Biography Mercedes Azpilicueta (AR)

In March 2017 Mercedes started The Take Over where she swaps her position as an Artist, with Jacco van Uden, head of the Change Management Research Group at The Hague University of Applied Sciences during a period of one month. The idea of the project seems simple, yet the very complexity of the impact, which is now being subject to further research by philosophers, art historians and critics, could take many years of study to grasp but a fraction of.

with Rasmus Bergmann (DK) & Søren Berner (DK)

Details verbergen

Over the coming months Rasmus Bergmann will be working with Søren Berner to produce a work created specifically for Cabaret Voltaire.

More details will follow shortly before The Lange Nacht der Zürcher Museen Performance Night.

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

mit Samina Bazai (DK) & Søren Berner (DK)

Details verbergen

Over the coming months Samina Bazai will be working with Søren Berner to produce a work created specifically for Cabaret Voltaire

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

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!)

Biography Samina Bazai (DK)

works on Inheritance. Attan is the latest work, which is a part of Inheritance. Attan is a traditional and ceremonial Pashtun dance. The circular dance builds up slowly, gradually gaining momentum until the dancer collapses from pure exhaustion.

Inheritance is a very personal work evolving from the loss of parts of her family and it keeps developing by the new works being added.

Christian Ratti (CH) & Søren Berner (DK)

Details verbergen

Over the coming months Christian Ratti will be working with Søren Berner to produce a work created specifically for Cabaret Voltaire

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

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!)

Biographie Christian Ratti (CH)

aufgewachsen in Chur, Lehre als Goldschmied bei Konrad Schmid in Chur, an Stelle oder vor eines geplanten Architekturstudiums an der ETH, 2001 Studium Bildende Kunst in Zürich mit Diplom als Turmführer, nachfolgend rascher Aufstieg zum Kamindirektor. (Dabei erste Kollaborationen mit dem Vizedirektor > So:ren Berner)

Interesse an Natur- und Kulturerbe, insbesondere Industriekultur. Mitbegründer des Verein Dolologie und des Büro für Wildtierarchitektur; dabei stets komisch ernst bleibend, ganz im Geiste der Spaziergangswissenschaft. Neben geselligen Spaziergängen hin und wieder auch Ausstellungen und Wettbewerbe; mehrheitlich in der Schweiz.

Christian Ratti ist voraussichtlich bald Teil der SAMMLUNG BUSER. Ratti ist auch selbst ebenfalls Sammler internationaler Garderobenmarken aller Kultursparten. Seine Sammeltätigkeit begann anlässlich der Ausstellung
„Was macht die Kunst – Ankäufe der Stadt Zürich 2001 – 2006“ im Helmhaus Zürich. Noch sucht die Sammlung ein Zuhause (eine Institution mit Garderobe).

Publikationen: Das Pfeilkabinett, Kunsthaus Langenthal, 2016