INTENSE DAYS. THE UNFAITHFUL REPLICA
THIRD INTENSE DAY 24 SEPT.
SECOND INTENSE DAY
7 MAY. 2016 17:30
17:30. Conference by Goran Sergej Pristaš: Art always has consequences
English with simultaneous translation.
Goran Sergej Pristaš, playwright, co-founder and member of the BADco performance art collective, teaches performing arts at the University oF Zagreb.
Mladen Stilinović finished one of his essays by saying that “art always has consequences”. But these consequences are impossible to predict. Having said that, we can always work with their affinities, an epistemologically key issue for art.
18:45. Conference by Bojana Cvejić: Rhythm, Poetry, Intensity...
English with simultaneous translation.
Bojana Cvejić, performance artist and theorist, co-founder and member of the TkH editorial collective, teaches dance and performance in various European institutions and lectures in philosophy of art at the Singidunum University, BelgradE.
“Taking Barthes’s concept of idiorrhythm as an example, Cvejić addresses the difference between two rival sets of ideas. On one hand, the current imperatives of performativity and the rhythm of intensity, fixed and regular, captured by indicators of growth or synchronisation; and, on the other hand, the poetic strategies of rhuthmos, the liquid pattern of a fluid element, a modifiable improvised form.”
19:45. Xavier Le Roy & Scarlet Yu in conversation with Laurence Rassel and participants in the work Para La réplica infiel
After weeks of learning, teaching, observation, movement and conversation with the work by Xavier Le Roy & Scarlet Yu in the exhibition, the participants as “hosts”, “guests” and “visitors” share their experience with the artists.
21:30. Concert performance by Los Flamencos (Niño de Elche, Isaías Griñolo and Antonio Orihuela): Cante tóxico nº III.
Cantes tóxicos started in 2012, reminiscent in ways of the versifying machine conceived by Juan de Mairena, Antonio Machado’s fictitious character, to sing, count and reveal the excesses of neoliberalism. Cante tóxico nº III picks up the traces of protest and pain of people tyrannised by the rich, the powerful and politicians, who have kidnapped democracy and denied them a future. Hybrid stories of our times, like a collage, that revolve around a poetic world, the performative practice of flamenco, critical discourse and audio-visual production, to uncover a new social scenario built with and on the suffering of people.
Admission free until reaching capacity. Tickets for the concert by Los Flamencos can be collected in reception from 17:00 on the day of the concert
The third Intense Day will be on 24 September
FIRST INTENSE DAY
17 MARCH 2016 18:30
19:00 — 20:00
Conference by Tomás Pollán: Imitation. Emulation. Invention. The Inimitable Artist
There is a number of categories (original, invention, genius, expression) that conform the framework within which the activity of the modern artist is interpreted. But these categories do not suffice to give account of the representation the dominant discourse makes of contemporary artistic activity, and we would have to add to the abovementioned categories, the one of the artist as “divine self”.
20:00 — 20:25
Performance by Julio Jara: Filacterias Tir
Filacterias Tir is an action in which Julio Jara (Toledo, 1971) launches a light doll into the air with the intention of selling it. It represents the charlatan—which Jara compares with the figure of the artist—as an emissary of a language under threat of extinction and of an identity contingent on faith.
20:30 — 21:00
Performance by Saskia Calderón
Saskia Calderón (Quito, Ecuador, 1981) performs a song in the invented language of an imaginary ethnic group. She invents a score, words and hieroglyphics using a formula for petroleum hydrocarbon, transforming them into music as a form of protest against socio-ecological crime, human tragedy, and the extermination of peoples, languages and worldviews wrought by the oil industry in Ecuador’s Amazon rainforest region.
21:00 — 21:30
Performance by Sunah Choi: Composition T
Sunah Choi (Busan, Korea, 1968) starts out from the materiality of objects and ways of perceiving forms and their shared echoes. The artist compiles, accumulates, arranges and recombines objects and materials and then projects them, altering their scales, converting them into images, into shadows, into representations of themselves.
With the support of