Academy of indisciplinary art
I’ve just published an article in french >Day of the Figurines, un théâtre techno-nomade< in a geneva-based on line cultural magazine Genève Active ->http://www.geneveactive.com/?p=559 ( 6th nov. 2008)
ps. I’m also in the game now. 
My figurine is like me who dresses in yellow jacket!
夜市工作坊自2006年夏天創立以來，每年聚集來自設計,科技,藝術,音樂,建築等等…跨領域地集合各科系不同領域的學子參與，針對”夜市”與”台灣文化”進行創作。今年以『街頭經驗』為題的夜市工作坊，由吳宜樺與阿麗莎.懷特兩位藝術家所帶領的團隊，二OO八年八月十六日晚間，在台灣台南市的花園夜市進行了『One Island, One Dream_愛台灣，去夜市唱國歌』的開放性集體行動表演。
Night Market Workshop focuses on the social context of the Taiwanese night market. It attempts to respond to it by organising creative activities since summer 2006 and participation is not limited to artist student but it opens up the participation to students from all kind of different disciplines as computing science, design, architecture, etc. The theme of this year is on Street Experience, which means that all the projects are presented and played in the night market with the intention to interact with people.
The Group lead by Paris-based artist Yi-Hua WU (TW) and New York-based artist Alyssa Wright (USA), has presented an open participative performance – < One Island, One Dream > on 16th August 2008, at 20h, at Garden Night Market in Tainan city, Taiwan. Continue reading ‘>One Island, One Dream< in Nightmarket’
A thrilling book … despite it focuses on contemporary art, it is potential to expand the field of research upon some experiment performance/theatre as well.
Contemporary Art: From Studio to Situation
This book, edited by Claire Doherty and published by Black Dog Publishing, describes the shift in focus that has taken place in much contemporary art practice in the last decade. From the notion of relational aesthetics to the concerns of site-specificity, this book provides a new critical investigation into the production and curation of contemporary art. Including reprints of seminal texts alongside new essays, interviews and case studies by leading international artists, writers and curators, this anthology provides an overview of this increasingly significant (and contested) field of art practice. Continue reading ‘Claire Doherty : From Studio to Situation’
Man schreibt den 8. November des Jahres 2006. Unter dem Motto “Lasst uns gemeinsam Tanzen für eine freie Bildung!”, wurde auf dem Erfurter Fischmarkt zum Protest gegen die Einführung der Studiengebühren in Thüringen aufgerufen. Keiner stand still, alles bewegte sich. Man sagt, sogar der Alte Roland wippte zum Takt der Musik. Seht selbst – in einem Bericht von UNIcut. Entstanden in Zusammenarbeit mit dem StuRa der Uni Erfurt.
‘At times in the grip of my headaches, when the attack reached its height, I experienced an intense desire to make another human being suffer, by hitting them in exactly the same spot on the forehead.’
Simone Weil, La Pesanteur et la grâce
‘The production Red Beard, Red Beard takes place in tandem with Kurosawa’s film Red Beard. The film is shown in Japanese without subtitles, and the actors sit in a line either side of the screen, speaking the dialogue “oratorio” style. They also act out certain parts of the film, which allows them to dub the parts, and to highlight or counterpoint aspects of the action.
In order to maintain the two-way relationship between the ‘live’ action and the film, the film is shown on a small television screen, rather than projected. Stressing the intimate quality of this relationship, the production at Gennevilliers will feature four groups acting simultaneously, each with its own small audience. At times, the four simultaneous performances will melt together and inspire each other, or diverge.
The film strives to offer a way out of the vicious circle of de-spiritualisation described by Simone Weil, in which suffering and victimisation become motives for the infliction of greater suffering and victimisation. How do you break the circle of suffering, just at the moment when things have reached their most unbearable, their most despairing?’
John Malpede Continue reading ‘Red Beard, Red Beard at theatre2gennevilliers’
“This is not theater,” he corrects me. “There is no script. There is no stage. I’m asking you to be yourself.”
“But there are rules,” I remind him. “So is this a philosophical game?”
“To play it well does not mean to win,” he teaches me. “It means to contribute to an interesting situation.” Sehgal’s work proposes a dynamic take on the idea of the “expanded concept of art,” arguing for a process of production that revolves around exchanges and transformations of thoughts, as he has said, “rethinking the notion of a product as a transformation of actions not as a transformation of materials.”
No photos.
No videos of the work.
No documentation at all.
No invoices.
Just memory.
Just art.
Magasin 3 presents an exhibition of constructed situations by the acclaimed artist Tino Sehgal. Continue reading ‘Tino Sehgal solved a fundamental problem of Conceptualism.’
