WHAT YOU CAN ALREADY SENSE
19 NOVEMBER, 26 NOVEMBER & 3 DECEMBER 2020
– 19 November
– 26 November (enrolment from 23 November)
– 3 December (enrolment from 30 November)
Programme curated by Andrea Rodrigo
Participants include: Anne Juren; Blanca Antonia, Anh Vo & Yaby; Cuqui Jerez; Galerie; María Salgado & Fran MM Cabeza de Vaca; Néstor García Díaz; SERAFINE1369; Twins Experiment.
Organized to tie in with the exhibition Collection XIX: Performance, this programme proposes an articulation of presences by way of propositional conversation, essays and study. In a series of pieces and meetings, we will convene a range of different textures, sensibilities, tones and intensities in the collective becoming with others afforded by presence.
Infinite Uses room, 18:00
CUQUI JEREZ, Unos Pasodobles
followed by conversation between Cuqui Jerez, Óscar Bueno and Andrea Rodrigo
In this piece, Cuqui Jerez presents a number of actions written for pasodobles. It is based on the concepts of suspense, contemplation, speculation and the ephemeral. The choreography is created in space through the weight, texture, colour and form of objects in motion: placing, moving, pushing, pulling, dropping and lifting them. Minimal landscapes in motion that offer the spectator a state of contemplation in which hyper-attention, expectation and suspense are brought into play.
Unos Pasodobles is part of the long-term research process for The Dream Project (2013-2016), which gave rise to a fascination with the material quality of things within Jerez’s practice: she began to lend closer attention to how material behaves when it is activated by a body and its characteristics are altered: the weight, texture or way it falls or is dragged. Through pieces like Crocodiles and Alligators (2012) and Unos Pasodobles (2013) —presented here in this programme—or El lago (2015) and El Fenómeno de las Fuerzas Ficticias (2016), among others, her practice accrues a more contemplative quality that seeks to find an unconceptualized perception, exploring open dramatic forms and lending increasing importance to the plastic dimension of the experience.
At the current moment, Jerez continues developing projects centred on states of attention grounded in the observation of actions and phenomena charged with nuances.
Cuqui Jerez is an artist, choreographer and performer. After working as a dancer and performer with various choreographers in Spain in the nineties, she began to develop her own choreographic practices in 2001. Since then she has created works of varying characteristics which have been showcased at many festivals, theatres and museums in Europe, USA and Latin America. Though her core activity is creation she also partakes in various research, curatorial, teaching and publication projects.
Unos Pasodobles (2013)
Duration: 45 min
Concept and performer: Cuqui Jerez
Assistant: Óscar Bueno
Piece co-produced by Theaterfestival SPIELART (Munich), Kaserne (Basel), Buda Kunstencentrum (Kortrijk), Stromereien 2014 (Zurich), Movimiento Sur (Chile), Festival of Regions (Austria) and Mercat de les Flors (Barcelona); and with the support of Teatro Pradillo (Madrid), CA2M (Móstoles), Casa de la Cultura de la UAEMÉX in Tlalpan (Mexico City), Teatro Línea de Sombra (Mexico City) and El Graner (Barcelona).
Various spaces (exhibition halls and Infinite Uses room), 18:00
Twins Experiment, Néstor García Díaz, SERAFINE1369
TWINS EXPERIMENT, Conversation: room or dwelling 18:00
Ainhoa and Laura develop a physical practice that cuts across the concepts of conversation, meeting and the field of games to bring their bodies into play. This practice emphasises something more than a precise expression of desires so that they always coincide. It is like an affective support structure for the body, the senses, ideas and needs that offers a listening in order to reach agreements, but also to manage disagreements.
Laura and Ainhoa show how, in order to be accomplices, we have to first train ourselves in practice, to insist, to formulate rituals, to touch, to displace, to use affected, situated, positioned, practiced and lived materials.
Conversation: room or dwelling was presented in October 2016 in IN_prescindibles at La Poderosa in Barcelona, after having been showcased at Festival Living Room and Spring Movement at the Center for Performance Research in New York.
In the framework of the Lo que ya se intuye programme they return to materials from four years ago in a setting understood as a place of contact, like a playground where the positions are negotiated in the encounter. They present their piece again with a body that is no longer the same, given that it has been influenced by its involvement in other practices and processes, undertaking an exercise in confidence between each other and with already constructed materials.
Twins Experiment are Ainhoa Hernández Escudero and Laura Ramírez Ashbaugh, a choreographic collective whose practice is based on friendship used to experiment with formats and painstaking strategies of a sought-after horizontality, in which to interrelate and investigate what is meant by living-with-others.
As an artistic duo they explore the practice of friendship understood as commitment and co-responsibility, as a care and support structure, as trust and loss of control, what allows one to take risks that perhaps would not be possible on one’s own. Their exploration is sustained on many hours, days and months of entangled connection, of complicity, listening, telepathy and negotiation. In their pieces, play and shared references activate forms of being and working together.
Apart from creating works for the stage, they also carry out laboratories and a reading club, places that generate the conditions for collective, experimental and horizontal creativity.
The results of their practice have been seen in various contexts such as the Center for Performance Research (New York); Arqueologías del Futuro (Buenos Aires); Museo del Chopo (Mexico City); Zeitraumexit (Mannheim); Festival inTACTO (Vitoria); La Poderosa, Antic Teatre and La Caldera (Barcelona); La Casa Encendida, Matadero, Conde Duque, Teatros del Canal and Festival Living Room (Madrid), and CA2M (Móstoles).
Conversation: room or dwelling (2017)
Duration: 45 min
Concept and performers: Twins Experiment (Laura Ramírez Ashbaugh & Ainhoa Hernández Escudero)
With the support of: Region of Madrid’s grant for choreographic creation (2016), Centro Coreográfico Canal (Madrid), INJUVE Award for young creators (2016) and PICE AC programme for the Internationalization of Spanish Culture (2017)
Acknowledgments: Teatralidades Expandidas R&D project, Eleonora Fabião, María Jerez and Living Room 2017
NÉSTOR GARCÍA DÍAZ, Past Continuous Present 19:00
“Choose six movements and put them in the correct order.” This is the concept of choreographic composition that Merce Cunningham proposed to the students in the workshops he gave during the Edinburgh International Festival in 1979.
This premise, based on the choice of elements and the creation of a purported correct order, is not far removed from the conventional idea associated with curating or the exhibition as a device that composes its meaning through the physical arrangement of elements in space. Hence, it is the arrangement that gives rise to different relations that contaminate one another and produce new semantic and experiential layers.
Past Continuous Present is conceived as a somatic exhibition which uses the body as an exhibition device. Different archive images are superimposed and transformed into/with the body while a voice creates a speculative framework with them. On this occasion, Néstor García Díaz engages with materials from the Collection XIX: Performance exhibition, using them to establish a dialogue with the context in which the programme is presented.
This piece is an endeavour to historize the body, to give it a dense, changing texture in which musculature, gestures, voice and movements capture the affective charge of all those presences that these images convene. Past-continuous-present. In this way, the body becomes an archive, composed of adherences, learnings, habits, memories, references and stimuli that, similar to an exhibition, take on presence and are brought into play with their cadence and arrangement in order to offer new possibilities of meaning.
Néstor García Díaz is an artist and freelance curator. He studied theatre at Institut del Teatre in Barcelona and choreography at P.A.R.T.S. in Brussels. After graduating he produced some stage works which were presented at international festivals like Tanz im August (Berlin), Batârd Festival (Brussels) and Zürcher Theater Spektakel (Zurich), and he has taken part in projects by other choreographers like Xavier Le Roy, Noe Soulier, Michiel Vandevelde and Malika Djardi.
Since 2012 his output has focused on the visual arts, influenced by his collaborations with the artists Tino Sehgal and Dora García, with whom he has worked in several exhibitions in contexts such as dOCUMENTA 13 (Kassel), Stedelijk Museum (Amsterdam), Fondation Beyeler (Basel) and Museo Nacional Centro de Arte Reina Sofía (Madrid), among others.
His practice can be divided into two lines. One focuses on the object, in which he works with concepts such as social choreography and materialist vitalism, underscoring the ways in which material culture and ideology have influenced our everyday choreographies, serving as patterns for social organization. His other facet explores an expanded notion of curatorship, considering bodies and oral history as possible platforms for the exhibition and conservation of artworks, questioning the exhibition event insofar as a material and timeless entity.
At the moment, he combines his artistic production with work as an advisor and curator of the Posar el Cos performance programme at IVAM (Valencia), and as co-director of Pols, a recently opened independent art space in Valencia, together with Carles Angel Sauri and Paula García Masedo.
Past Continuous Present (2018)
Concept and performer: Néstor García Díaz
SERAFINE1369, I Have Become A Prayer 20:00
I Have Become A Prayer is a remote dance, a dance of remoteness. A wish for presence and an acceptance of absence that vibrates with intention and strategies for welcoming and witnessing forms of presence, that asks for the recognition of other signals, other signs, other modes of communication that gives voice to what, or who, has been exiled. I Have Become A Prayer asks for an opening, for the bodies of those who visit the work to open themselves to becoming vessel. Nothing ever really goes away. This is ghost work.
I Have Become A Prayer draws from experiences of dissociation, and also from a work of survival. Through a practicing of reading body signals, the symbols that arrive to us through dreams, dance, poetry and states of trance —our oracular potential — SERAFINE1369 looks for a way to construct a mechanism that will hold and sustain them whenever they lose themself, to root lines of knowledge so deep, to have so many repetitions that grooves form inside them. A mechanism that can inform the one who is there when they are forced to leave. A form of communicating and forging communion between those present.
SERAFINE1369 (previously Last Yearz Interesting Negro) is the London based artist and dancer Jamila Johnson-Small. SERAFINE1369 works with dancing as a philosophical undertaking, a political project with ethical psycho-spiritual ramifications for being-in-the-world; dancing as intimate technology.
Their work is informed by research into movement and dance as a tool for divination, decoding messages from an oracular body - on personal/structural/symptomatic/somatic/psychic levels - to be processed through the medium of choreography. Always thinking about the metabolic - impact and exchange through/in/as movement. Their shows are stage/dreamspace/battleground, decompositions, atmospheric landscapes created through the live unfolding of the tensions between things that produce meaning.
SERAFINE1369 has a relational, cumulative and often collaborative practice, gathering and transmitting information through working in various constellations, at different scales and in different roles to build spaces for communing/attuning/communicating through dancing, performance, listening and conversation; spaces that might hold the complex, multiple and contradictory, spaces that consider movement and transformation as inevitable, working to be unsettling situations of non-dominance.
I Have Become A Prayer (2020)
Concept, video and text: SERAFINE1369
Original music: Josh Anio Grigg
This piece was presented for the first time in September 2020 at the My Wild Flag festival curated by Karina Sarkissova and Pontus Pettersson at MDT, Stockholm
Various spaces (Exhibition halls and Infinite Uses room), 18:00
Anne Juren, through Paz Rojo; Anh Vo and Blanca Antonia; María Salgado and Fran MM Cabeza de Vaca
ANNE JUREN, through PAZ ROJO, Fantasmical Anatomy Lesson: The Skin – Desire for a Containing Shell
In her Fantasmical Anatomy Lessons, Anne Juren attempts to expand the imagination of the body and its boundaries by proposing a textual landscape in which the choreography is placed inside the body of the participants.
A voice invites the spectators to travel the inner and unknown parts of their bodies in a kind of visceral investigation. The lessons impose an un-reading of what a body is and where its borders are, and studies how fantasy and phantasms –conjured as individual and collective experiential activators of enjoyment, imagination and desire– can disrupt the logic of anatomical disciplines, giving rise to unexpected relations and sensations.
During this trip inside their own bodies, the participants are engaged in different states of kinaesthetic, sensorial, mental and cosmic cannibalistic experiences through the voice, listening, writing, sensorial embodiment, corporal practices and dance.
In this way, a landscape of phantasmagoric and delirious spaces is opened up, where dysfunctional relations and improbable actions can take place, troubling the associations between inner and outer sensations. An exercise in decoupling, in transforming the body so that, by means of a series of perceptive knots and entanglements, it can accommodate other agencies, other formulations and possible connections to grasp and perceive the body not as a unitary or isolated reality but as an interrelationship with its various processes, textures, rhythms..., and with everything that surrounds it.
Each lesson in these Fantasmical Anatomy Lessons is dedicated to a different part of the body, in this case, The Skin – Desire for a Containing Shell focuses on the skin in order to examine its possible semantic, symbolic and material declinations. The skin is taken as an entity in its own right, a point of departure that is, at once, both boundary and threshold of the body, a space of contact and of inscription.
Within the framework of the Lo que ya se intuye programme, the choreographer and dancer Paz Rojo will act as a medium for this lesson lending her body and voice to the words of Anne Juren. The desire to undertake this retransmission is sustained on Paz’s profound insight gained through the practice of Anne’s work, as well as a mutual exercise in trust and commitment.
Anne Juren is a choreographer, dancer and performer, born in Grenoble and living and working in Vienna. In 2003, she founded the Wiener Tanz- und Kunstbewegung association in Vienna together with the visual artist Roland Raagas. Juren’s choreographic pieces and artistic works have been presented in theatres, festivals and contemporary art centres worldwide. In her work Juren seeks to expand the concept of choreography through an exploration of sensuality and kinaesthetic sensations, by engaging the body in different physical, sensorial and mental states, challenging the boundaries between the private and the public. Since 2013 Juren is a practitioner of the Feldenkrais® somatic learning method and is currently writing her thesis at the Stockholm University of the Arts.
Paz Rojo is a choreographer and dancer. Her work is traversed by questions about what it is that dance does and the affective, political and aesthetic framework of choreography and its relations with the forces and drives of the capitalist system. She deploys the practices, tools and concepts that sustain her practice in various formats: creations for the stage, meetings and encounters, research and curatorship, choreographic experiments, collectives, video-essays and the book To Dance in the Age of No-Future. She recently completed her doctorate at the Stockholm University of the Arts with a thesis on The decline of choreography and its movement: a body’s (path)way.
The Skin – Desire for a Containing Shell is part of the ongoing Fantasmical Anatomy Lessons (2015-)
Choreography: Anne Juren
Performer: Paz Rojo
Conceived in the framework of Institut für Auslandsbeziehungen e. V. (ifa)-Galerie Berlin, Berlin
ANH VO & BLANCA ANTONIA, Drunken Butterfly
I'm in heaven
With my boyfriend, my laughing boyfriend (oh)
There's no beginning and there is no end (so deep, baby, just a sweet)
Feels like I'm dreaming, but I'm not sleeping (fantasy)
—Tom Tom Club/Mariah Carey
Drunken Butterfly was conceived by Blanca Antonia and Anh Vo, with the input and collaboration of Yaby and Isaac Silber for the context of this programme. It is not easy to put it down in words, given that it operates within the order of intuition and pre-articulation, understood as the moment in which one can almost grasp a gesture or idea but before it has actually taken on any kind of specific or definite form. That is perhaps the reason why it is more appropriate to allude to and conjure some of the materials that inform it, like the lyrics of the song above.
From this position of pre-articulation, the same place from which the whole Lo que ya se intuye programme has been conceived, the practices and forms of Drunken Butterfly stir the imagination and desire in the meeting with other bodies, materials and experiences.
Anh Vo is a Vietnamese choreographer, dancer, theorist and activist who creates dances and produces texts on pornography and queer relations, on essence and form, on identity and abstraction, on history and colonial reality. Blanca Antonia is currently a PhD student in Performance Studies at New York University (NYU). Beatriz Ortega Botas and Alberto Vallejo are curators at Yaby and editors of _AH. Isaac Silber is an artist and multi-instrument sound designer, whose field of research focuses on the intersections of radical black thinking and the production and performance of experimental underground electronic music.
Drunken Butterfly (2020)
Duration: 50 min
Choreography: Anh Vo and Blanca Antonia
Performer: Blanca Antonia
Set design: Yaby
Sound design: Isaac Silber
Original music: Khanh Ly, Hong Nhung, Mariah Carey, Tom Tom Club, Avatar: La Leyenda de Aang, Dai Lam Linh, Kaoma
MARÍA SALGADO & FRAN MM CABEZA DE VACA, Antes de que desaparezca nuestro mundo, escribámoslo
Antes de que desaparezca nuestro mundo, escribámoslo (Before our world disappears, write it down) is a performance that turns an old story into a new story simply by displacing the sound and meaning of a few words by just a few millimetres in such a way that, on the one hand, they become more generic and open and, on the other, they serve to transfer the experience of an overflow whose origin and reach are unknown. Over the voice and language recorded of an old woman talking about her childhood experience during one of the greatest storms in Spain in the twentieth century as if it were the end of the world, another voice, language and listening is constructed for another world changing event: what took place in countless public squares around the world in 2011.
Antes de que desaparezca nuestro mundo, escribámoslo was part of and central to the stage work called after one of its sentences, Hacía un ruido, with which María Salgado and Fran MM Cabeza de Vaca toured a series of independent venues, theatres and concert halls between May 2014 and May 2016, when they stopped doing it in Spain (though not in other countries) because they felt that the context began to take on a nostalgia which ran the risk of depoliticizing it. Four years later, in the current reactionary, dystopian context, when listening to the audio of the performance (recorded on the other side of the vinyl to the voice of the old woman exhibited at CA2M) in the framework of an exhibition that also included Untitled (Body Tracks) by Ana Mendieta, El ministerio de sanidad tiene las manos manchadas de sangre by Radical Gai and LSD, and also El nido by Pepe Espaliú, the piece no longer seemed to be impregnated with nostalgia but rather its more abstract part had become more open and to say things worth sharing once again live and direct.
María Salgado (1984) and Fran MM Cabeza de Vaca (1976) have been working together in Madrid since 2012, their joint work setting out from the idea of an audio text as a junction between poetry, language, sound art, music, and performance. María is a poet, performer, teacher and freelance researcher. Fran is a composer, sound artist and music teacher. Together they have created a substantial body of work in two fields of research (Hacía un ruido (2012-2016) and Jinete Último Reino (2017-)), which they have presented in various contexts such as Museo Nacional Centro de Arte Reina Sofía, CDN Teatro Valle Inclán and Espacio Naranjo (Madrid); Württembergischer Kunstverein (WKV, Stuttgart); El Arsenal (Cordoba) and 16 Beaver (New York).
Hacía un ruido focused on the cycle of political disobedience around the world in 2011 and gave rise to self-published posters and pamphlets, a book published by Contrabando, an album released by Ruido Sisterhood, an instrumental piece for the Vertixe Sonora ensemble, a two-month-long sound installation at Sala de Arte Joven in Madrid, and a hybrid recital that toured to disparate venues in Madrid, Barcelona, Cordoba, Seville and New York. Jinete Último Reino (2017-), which explores desire, normative repression, subjective rebelliousness and the joy shared by night subcultures, has its origin in an instrumental piece for oboe and electronic device performed in 2013 by the Smash Ensemble and the publication of the score in Northwestern University’s Present Tense Pamphlets collection, and to date has led to an audio for Radio Reina Sofía (Negro (RSRJ RJRS)) and an audio-video (Nana de esta pequeña era, audiovisual-textual piece), as well as two performance pieces: Fragment 3 and Fragment 2, which were premiered at Matadero (Madrid, 2017) and at MACBA (Barcelona, 2019) respectively. Fragment 1 is currently being produced and, once finished, it will join the other two to become one single work.
Antes de que desaparezca nuestro mundo, escribámoslo
Duration: 26 min
Created and performed by: María Salgado and Fran MM Cabeza de Vaca
Graphics: ANFIVBIA (Rubén García-Castro and María Salgado)
Video: María Salgado and Fran MM Cabeza de Vaca
Production: Lorenzo García-Andrade
Recording and sound editing of vinyl: Kamen Nedev / Acoustic Mirror
Voice on vinyl: Celia Pérez Estévez
Recorded sounds: José Pérez Estévez, María Salgado, Fran MM Cabeza de Vaca, field recordings in Moialde and San Pedro (2015), background noise of the installation Estábamos venía (2015)
Acknowledgements: for their invaluable input and improvements to this area of works called Hacía un ruido, we wish to thank the many people we met along the way, among others, Patricia Esteban, Jara Rocha, Clara Piazuelo, Paco Nevado, Guadalupe Esquinas, Antonio Blázquez, Luis Moreno Caballud, Begoña Santa Cecilia, Jonás Murias, Elia Maqueda, Kamen Nedev, Pepe Olona, Sole Parody, Gabriel Cortiñas, ZEMOS98; Paula Pérez-Rodríguez; Andrés Montes, Casi Baile, Julio Albarrán, María Cabeza de Vaca, Emilio Tomé, Carlos Marquerie, Getsemaní de San Marcos, Óscar Villegas, Roberto Baldinelli, David Benito, Rafael Sánchez-Mateos Paniagua, Rubén García Castro, José Pablo Polo, Mar Villaespesa and Francisco Javier Gómez Martínez.