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IPA Plaform for Young Performance Artists Istanbul 2013 Program: NEXT STEP
See, below the overall program, more detailed information about the performance program curated by Dimitrina Sevova at the invitation of IPA, with Riikka Tauriainen, Romy Rüegger, Lorenz Hegi, Sarah Bernauer & Garrett Nelson, Dimitrina Sevova, Benjamin Egger.
Overall Program of the Platform
22 August 2013
Mixer: 14:00-17:00 – Day Session
Paul Striegel – Durational Performance
David Scheffler & Yasmin Schaffler – Durational Performance
Mayte Kappel , Çiğdem Üçüncü
İstanbul Modern: 18:00-18:30
Rob Sweere – Silent Sky
Mixer: 18:45-20:30 – Night Session
David Maroto – Decide Your Destiny
Riikka Tauriainen – Parallel Reading of Gregg Bordowitz (The AIDS Crisis Is Ridiculous) and Vladimir Mayakovsky
Romy Rüegger – A fabric in Turkey red
Karaköy Parkı: 14:30-15:30
Anne Glassner & Elsa Ledaux
Nilüfar Rezai
23 August 2013
Karaköy Parkı: 15:00-17:00
Mayte Kappel & Sara Cou & Çiğdem Üçüncü & Nilüfer Rezai (durational performance)
İstanbul Modern: 17:30
Monali Meher – Visiting Marmara
Mixer: 18:30 – 22:00
Jürgen Fritz – Ringing a bell in dialogue
Ieke Trinks – One Table Spoon
Burçak Konukman – Artist Guide to Popularity
Verena Stenke & Andrea Pagnes VestAndPage – THOU TWIN OF SLUMBER: PUPAE
Robotik Hayaller – Ruhsal Sapışın 5 Kehaneti
24 August 2013
Salt Galata: 12:00-13:30
Teaching Performance Art Conference
Jürgen Fritz & VestAndPage
Salt Galata: 13:45
Sibel Kocakaya – isimsiz
Lorenz Hegi – Keeping up the flow
Salt Galata: 14:30-20:00
Sarah Bernauer & Garrett Nelson – Squatted Trees (durational performance)
Sanatorium: 17:00-20:00
Jasmin Schaitl – Re Fade
Margo Van de Linde – Channeling
Dimitrina Sevova – A Lecture-Performance about the Practice of Lecture-Performance (No more representative theatre, a thousand desiring machines, let a thousand flowers bloom)
Benjamin Egger – Swan Song
Ümit Ilgın Yiğit – Couporn
Marieke Warmelink – Demokratik Kumpir
Thanks to Dimitrina Sevova for supporting the festival by co-curating part of the program at Salt Galata, Mixer Arts and Sanatorium.
(Secret Place) – After Party: 21:00- 04:00
All performances at program times and dates can change by Organization Team. Please check our website and facebook page for updated program. All events entrance is free.
Contact:
http://www.i-pa.org/ipa-summer-2013/
https://www.facebook.com/IpaIstanbul
https://www.facebook.com/events/323494434446590/
info.istanbul(art)i-pa.org
ipasummer(art)i-pa.org
22 August 2013, Thursday
Mixer : 18:45 – 20:30 – Night Session
Riikka Tauriainen – Parallel reading of Gregg Bordowitz (The AIDS Crisis Is Ridiculous) and Vladimir
Mayakovsky
“But the revolution is a demanding lover: it requires the withdrawal from all other romantic interests. It
demands fidelity. The suspension of one’s own amorous desires for the sake of a greater commitment is a theme that speaks most directly to my own inner conflicts.” (Gregg Bordowitz)
Gregg Bordowitz is an artist and writer who believes that the conjunction between the subjective (his experience of having a disease) and the objective (the fact of the disease as a global problem) is necessary for understanding and fighting the crisis: “If it can be written,” he says, “then it can be realized.”
Romy Rüegger – A fabric in Turkey red
The performance proceeds from exotic fabrics produced for several decades for export into the Ottoman Empire in factories in the small and poor, yet early on industrialized valley of Glarus. The first workers’ strike in Switzerland took place in one of these factories in 1837. It was a strike of women and children – barely a few decades after in the same place the last witch of Switzerland, and one of the last of Europe had been put to death.
24 August 2013, Saturday
Salt Galata: 13:45
Lorenz Hegi – Keeping up the flow
The performer basically swings a chair around his own body, while standing in front of the audience. The process is set up in different parts with different motion variations which look like concentration exercises, a work-out or time filler games. It's also about the concentration and attention effort putting about an „artistic“ piece with an ordinary object.
Salt Galata: 15:00-20:00
Sarah Bernauer & Garrett Nelson – Squatted Trees
Bernauer and Nelson will be flying small kites made of painted silk into the trees of Gezi park and other green spaces in central Istanbul. The small fragile kites will tangle in the branches and remain there. They will document each of the kites and use the images as a backdrop for a reading. With the assistance of friends and the public, images of the kites will be uploaded to the website documenting their persistance over the following weeks and months. The artists will be reading for six hours during the opening hours of the gallery from collected references offered by Turkish artists, filmmakers, thinkers and friends. Bernauer and Nelson will collect and mix the references and the viewer may sit in for a short time or stay the entire six hours. Using this method of open research by suggestion they hope to achieve a trance state of oversight, what they call, AU VERS VUE, (come to the view). In this sense, the reading becomes a survey of attitudes and positions of thinking as well as a statement of endurance, subtle infiltration (kites) and persistance (reading/kites).
Sanatorium: 17:00-19:00
Dimitrina Sevova – A Lecture-Performance about the Practice of Lecture-Performance (No more representative theater! A thousand desiring machines, let a thousand flowers bloom!)
Robert Morris performing 21.3, sur+ Dance Theater, Stage 73, New York, 10 February 1964
The lecture performance as a performative art practice is situated in multiple coordinates that cannot correspond to any genre, let alone a school, and goes right past pedagogical manners and mediation as techniques of signifying and control of the public or older methods of discipline imposed by the assembly line of the school institution or the factory of knowledge itself. A Lecture Performance about the Practice of Lecture Performance investigates the appearance of this form in the field of art by applying its own methodology, being itself a lecture-performance, in order to escape existing categorizations both in the system of art and in academia. The lecture performance is a process-oriented practice exploring and complicating the semantic codes coming from different signifiers and creating rather a field of noise than of clear statements. It thus aims to provide some insight in the method of dramatization, which is always a politics of time, taking into consideration the social and political context where it takes place, oriented to new relations with its public to blur normative forms of recognition and organization of the production of knowledge.
Through a variety of non-chronologically situated examples and appropriated materials from artists like Robert Morris, Andrea Fraser, Adrian Piper, Yvonne Rainer, John Cage as well as more recent examples, A Lecture Performance about the Practice of Lecture Performance, composed of fragments, raises the question of what affect is, and what is there to affect and be affected, itself creating a dynamic and unstable situation which is the condition of being of this artistic practice, difficult to define in its aesthetic and knowledge forms.
The practice of lecture performance strives to overcome the split between the gesture and the linguistic machine which disconnects the corporeal from the conscious and unknown, by incorporating representative and non-representative bits from different sources in order to call forth the curiosity of the public (not its attention, nor its ability to judge).
Benjamin Egger – Swan Song
The Performance SWAN SONG refers to the dream of the Everything’s Possible. A ballet dancer is performing the choreography of the Dying Swan created by Michel Fokine in 1905 for the Prima Ballerina Anna Pawlowa. A speaker accompanies the dancer. The words of economic optimism and the power of self- motivation are building together with the fragile performance of the dancer a space of uncertainty and hope, of fade-in and fade-out, of dream come true and dissatisfaction. The performance states the question of the ending of our current culture which created so many beautiful things but excluded too many.
The program was kindly supported by the Swiss Arts Council – Pro Helvetia.
