Performance Art Symposium
February 23rd 4:00 pm - 7:00 pm
Chicago Cultural Center
78 E. Washington St., 1st Floor Garland Room
Traversing the New: Climates and contours in 21st Century Performance Practices
How and why does the body move in a mixed reality environment? Where does the archive fit within the body and outside of it? How do we invest IN>TIME and negotiate, prompt, and experiment with our bodies in the 21st century? This symposium asks artists, scholars, and curators to speak to contemporary and historical concepts that disturb and galvanize contemporary performance making.
Jennie Klein teaches contemporary art and art history at Ohio University.
She writes frequently about performance and recently published Histories and
Practices of Live Art (Palgrave-McMillan, 2012), co-edited with Deirdre
Heddon, on live art practices in the United Kingdom. She is currently
working on two edited collections: the first on the performance work of
Marilyn Arsem, the second on the recent collaborative performance work by
Annie Sprinkle and Beth Stephens, entitled ASSUMING THE ECOSEXUAL POSITION: AN ART/LIFE LOVE STORY.
Bio: Jessica Santone is an art historian specializing in performance and contemporary art since 1960. She earned her PhD at McGill University and has since published and presented papers on themes of documentation, archiving, and reenactment in performance. Moving beyond these modes of circulation and dissemination, her new research focuses on the role of participatory audiences, both in Fluxus circa 1970 and in 21st century pedagogical performance practices. She is currently teaching Performance Art in the 21st Century at SAIC; she also teaches at Columbia College.
Marina Peterson is Associate Professor of Performance Studies in the School of Interdisciplinary Arts at Ohio University. An anthropologist, her work explores sound, performance, and cities. She is the author of Sound, Space and City: Civic Performance in Downtown Los Angeles (UPenn Press 2010) and co-editor of Global Downtowns (UPenn Press 2012). As a cellist, Peterson primarily plays contemporary experimental and improvised music. Her musical practice focuses on the craft and labor of musical practice and materialities and temporalities of sound. Collaborations with a range of media such as radio, electronics, dance, painting, and film expand the sonic and performance potentials of the cello.
Beverly Fresh is a contemporary artist and musician. He has broken several
Guinness Book World Records; including breaking the most eggs on his head
and compiling the tallest stack of rap tapes. He has performed in a
variety of venues including liquor store parking lots, in front of Buffalo
Wild Wings, atop the Great Wall of China, Machu Picchu and at Check Point
Charlie in Berlin. He is an award winning multimedia artist that has
exhibited throughout the U.S. and abroad, including shows in Japan, China,
Germany, Ukraine, and Canada.
“Courageous Encounters: Utopian Performance Practices”
Anthony Romero is a performer and writer based in Chicago. His works have been performed nationally, most notably at Links Hall and The Hyde Park Art Center in Chicago and as part of the Itinerant Festival for Contemporary Performance in New York. He has published poetry and criticism through Ugly Duckling Press, Poetry Quarterly, The Huffington Post, and Performa Magazine, among others. He is currently a blogger for Bad at Sports and is the Assistant Director of The Guild Literary Complex.
SAIC Graduate Panel: Stephanie Acosta, Stephen Kwok, Lindsey Barlag and Fabienne Zuijdwijk
(co sponsored by The School of the Art Institute Performance Department and the Department of Cultural Affairs and Special Events)
Saturday 23rd February 7 – 8pm, Claudia Cassidy Theater, Chicago Cultural Center
The video (25’) was created in 2009 for the performance llámame mariachi, by La Ribot.
“The first part is a twenty-five-minute video titled mariachi n°17 that consists of a single take. It’s shot by the dancers––Marie-Caroline Hominal, Delphine Rosay, and myself––with a handheld camera; the camera is passed from one performer to another, and so the piece becomes a physical and sensorial exploration of the point of view of the body dancing [...]”
Extract from Rachel Withers’ article in Art Forum, January 3rd 2011.
mariachi n°17 film
Direction, choreography and scenography La Ribot
Camerawomen Marie-Caroline Hominal, Delphine Rosay, La Ribot
Director of photography Daniel Demont
Music supervision and sound mixing Clive Jenkins
Video editing Sylvie Rodriguez
Post-production Massimiliano Simbula
Light, video and sound technicians Stéphanie Rochat, David Scrufari
Set building Victor Roy
Photographies of building constructions in Spain Miguel de Guzmán
Stagehand Pablo Jobin, Laure Fauser
Falconry Les Aigles du Léman – Jacques-Olivier Travers et Babette
Shooting Caecila rehearsal room – La Comédie de Genève – Switzerland – June/July 2009
Production Anouk Fürst
Production La Ribot – Genève
> Manager Rares Donca
> Production Assistant Clémentine Küng
> Accounting Yves Bachelier
Coproduction La Comédie de Genève – Centre dramatique (Genève), La Bâtie – Festival de Genève (Genève), Festival d’Automne à Paris, Les Spectacles vivants – Centre Pompidou (Paris), Fundação Caixa Geral de Depósitos – Culturgest (Lisbonne), Réseau Open Latitudes *
With the support of la Ville de Genève, la République et canton de Genève, Pro Helvetia – Swiss Arts Council
And the Fondation Leenaards and Fondation Ernst Göhner
With the collaboration of Fresnoy, Studio national des arts contemporains.
Special thanks to Luc Peter, Gilles Jobin, Edwin Culp, Mélanie Rouquier, Fafa, Olivier Devin, Florent Leduc, Pascale Pronnier, Anne et Nicola Marangon, Emilie Nana, Claude Bourgeois, Heleen Treichler, Lorena Ribera, Family Déco, Théâtre de Carouge, Oskar Gomez-Mata.
* Les Halles de Schaerbeek – Latitudes Contemporaines – Le Manège.mons/Maison Folie – Body Mind – L’Arsenic