CONTINUOUS PROJECT ALTERED DAILY (2016)<\/p>\n
After<\/p>\n
CONTINUOUS PROJECT ALTERED DAILY<\/p>\n
Yvonne Rainer [1969-70]<\/p>\n
How to counter the very sterilization of collective forms of experience, as well as the general tendency of a\u00a0self isolation that weighs on our present ? How to invent ways of being together, while imagining a\u00a0cooperation of intelligences ? Which situation is to be achieved, so that the equality of everyone and anyone\u00a0could be verified, and give way to the invention of an unpredictable common ? How to reassess alteration as\u00a0a motor allowing for identification ? This intervention wishes to reverberate this very fact : if art can be\u00a0passed down, it is first of all because it is itself the operator of the collective without which no transmission\u00a0could ever be achieved.<\/p>\n
Here the proposition:<\/p>\n
Date of workshop: 21 – 31 of December 2016<\/p>\n
Public presentation: 1 and\/or 2 and\/or 3 of Januray 2017<\/p>\n
Conductor: Christophe Wavelet with the TNUA Dance dept.<\/p>\n
Minimum 10 persons, maximum 14 persons:<\/p>\n
Ideally if 10, it should be 8 dance students from Taiwan + 2 professional dancers from Taiwan (it may be of\u00a0interest to Taiwan professional dancers to have this experience). If 14, it should be 10 dance students + 4\u00a0professional dancers.\u00a0The workshop will be in English (Christophe Wavelet speaks French and English fluently).<\/p>\n
Description:<\/p>\n
Performer, art critic and curator Christophe Wavelet proposes to lead a research workshop based on the\u00a0work Continuous Project Altered Daily (1970) by American choreographer, writer and film-maker Yvonne\u00a0Rainer, one of the leading figures in the legendary Judson Church group. This research workshop is\u00a0addressed to a group of maximum 14 artists (dancers, performers and\/or visual artists), without age\u00a0limitation.<\/p>\n
Yvonne Rainer started to work on this project in 1969 and premiered it at the Whitney Museum of American\u00a0Art in New York City on March 31, 1970. Structured by a series of choreographic materials and\u00a0operations \u2014 some of them transcribed in the Labanotation system that same year by dancer and performer\u00a0Barbara Katz \u2014, they come together with a list of \u201cRoles and meta-muscular affections\u201d (reproduced here\u00a0below), so as to define the range of performative modes to be explored by the performers. Their number, as\u00a0well as the duration of the piece and the various locations where it can happen (from theaters to exhibition\u00a0spaces, to public gardens, churches and gymnasiums , etc) is not prescribed by its author.<\/p>\n
A milestone in the history of experimental and discursive artistic practices, Continuous Project Altered\u00a0Daily allows for a series of collective experiments and investigations, as well as to question the specificities\u00a0of historical, cultural and social contexts. The critical potential of its operations calls both its performers and\u00a0its spectators attention on a series of strategies that allow to counter the logics of commodification that\u00a0nowadays too often weighs on the public experience of art.<\/p>\n
By questioning the very sterilization of collective forms of experience in present days, as well as the general\u00a0tendency of a self isolation that weighs on everyone\u2019s life, it allows to invent ways of being together by\u00a0means of a cooperation of intelligences. It generates situations where the equality of everyone \u2014 performers,\u00a0as well as spectators \u2014 can be verified, and give way to the invention of an unpredictable common. It\u00a0reassesses alteration as a motor allowing for identification and reverberates this very fact : if art can be\u00a0passed down (transmitted), it is first of all because it is itself an operator of the collective without which no\u00a0passing down or no transmission could ever be achieved.<\/p>\n
The workshop process implies the daily practice of the choreographic materials and an analytical\u00a0examination of the operations that characterize Rainer\u2019s piece. This dynamics allows to explore and question\u00a0anew notions such as that of\u00a0experience, gesture, interpretation, translation, citation, appropriation, discursivity, genealogy, and analysis,\u00a0as well as those of heterogeneity, alterity,subjectivization, pleasure, trust and the intolerable.<\/p>\n
In times of globalized economic circulations and the many ways they affect the materiality of contemporary\u00a0cultures, what does it take to instaure or invent spaces where collectives dynamics of sharing and discussing\u00a0can be experienced under the name of \u00ab art \u00bb ? What if artistic practices work on emancipating themselves\u00a0from the logics of commodification ? If we are to understand the name of \u00ab artistic modernity \u00bb not as a\u00a0defunct historical programm but as a promise yet to be activated, how can we find a way to reconfigure the\u00a0many aporias inherent to dominant contemporrary discourses about a \u00ab dialogue between cultures \u00bb ?\u00a0Working out such questions certainly implies a Continuous Project to be Altered Daily.<\/p>\n","protected":false},"featured_media":5109,"template":"","meta":[],"international_tax":[],"_links":{"self":[{"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=\/wp\/v2\/international\/5032"}],"collection":[{"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=\/wp\/v2\/international"}],"about":[{"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=\/wp\/v2\/types\/international"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=\/wp\/v2\/media\/5109"}],"wp:attachment":[{"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5032"}],"wp:term":[{"taxonomy":"international_tax","embeddable":true,"href":"https:\/\/dance.tnua.edu.tw\/index.php?rest_route=%2Fwp%2Fv2%2Finternational_tax&post=5032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}