05.06 - 09.06


lead by Krõõt Jurak

17h30 to 20h 

|/ Location: ªSede


#auto – self – domestication, #self-referenciality, auto-reference-reality, automatic (unaware?) domestication becoming of pet, learning unaware self– and other, becoming domesticated, #pet, domestic work, auto-reference-reality autodomestication…

As a performer you provide your audience with something that can not be measured in material terms. As regards to the activity that produces the cultural content of the commodity, your labour involves a series of activities that are not normally recognised as work — activities involved in defining and fixing cultural and artistic standards, fashions, tastes, consumer norms, and more strategically, public opinion. As a performer you are primarily a producer of subjectivity.

Typically the artist’s value does not lie in what they “do” but in what they “are”. Now remember for example how Richard Florida described the processes of  gentrification caused by artists and creative workers’ migrations – the artists may or may not be aware of the value of their mere presence however on a larger scale they produce “results” by simply existing.

Survival in the the (performing) arts requires creativity that goes beyond the artworks one creates. In fact a typical performing artist spends about 99% of their time off stage - as audience member, critic, administrator, networker, friend, advisor, student, teacher and so on. Inventing and re-inventing oneself on and off-stage, adjusting to various situations, moving from project to project, residency to the next, animated by creative energy, training and re-training yourself is the way to move along.

In this LAB we will think of and practice various ways of being artists and pets today.

12.06 - 16.06


lead by Eleanor Bauer

17h30 to 20h

|/ Location: ªSede


CHOREO GRAPHY  is an inquiry into the nature (systems, processes, qualities, structures) of thought in improvised and choreographed dance in relation to the nature (systems, processes, qualities, structures) of thought in spoken and written language. Or, the relation between what we say we’re doing and what our dance is doing, what is understood through language and what is understood through movement, and how these things collaborate and collide in choreographic practice. 

Respecting that different media enable different kinds of thought processes, ideas, or concepts to be reached, at the base of the research is how movement-thought itself, translatable or not to language, might be observed and understood. While philosophical and scientific perspectives are informative and influential, the core of the project (as productive of knowledge) is in artistic practice: through the development and of dance and writing practices, the work is to get closer with language to the specificities and idiosyncrasies of dance-thought, challenging the structures and codes of language with the logics of the dancing body to produce more situated discourse and embodied poetics from within dance.

Working with the frictions and gaps between these two media of thought, through different approaches of translation, transposition, or intermediation, the project of articulating dance-thought in language is a means to reshape, manipulate, and handle the structures of language with critical and creative agency, to question the givens, to make words move, and ultimately to forge new choreographic tools by restructuring how we talk about and write dances, taking choreography literally as the writing of the dance, or dance-writing.

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