Posts tagged performance

Chinese Kunqu opera talk and demonstration, April 3rd

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Hosted by our friends in the Contemporary China Centre:

Chinese Kunqu opera talk and demonstration
London Jing Kun Opera Association, led by Kathy Hall

Wednesday 3 April 2013,  5.30 – 7.30pm
Room 451, University of Westminster, 309 Regent Street, London W1B 2UW

Kunqu (Kun Opera) enjoys national opera status in China. It is highly refined, visually stunning and very demanding on the actor. The four elements of singing, recitation, acting/movement, and martial arts form the basis of this musical and dramatic art. Strict control and pace, but also immense fluidity, are required in the performers’ use of hands, eyes, body, and feet. Dynamic interaction between actors and musicians in performance further adds to its vibrancy. In recognition of the intrinsic value of Kunqu, in May 2001 UNESCO declared it one of the first 19 ‘Masterpieces of the Oral and Intangible Heritage of Humanity’.

The programme includes: a short movement demonstration, typical of the elegance of the Kunqu opera dan; slide show and talk; musicians from the London Jing Kun Opera Association Kunqu Ensemble talking about their learning and performing experience; performance with musicians, including invitation to the audience to sing some lines with accompaniment.

All welcome, but non-University of Westminster attendees please register with Dr Derek Hird: d.hird@westminster.ac.uk

Exhibiting Performance Conference – 1st – 3rd March, London

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Exhibiting Performance Conference

Date: 1-3 March 2013
University of Westminster, 309 Regent Street, London, W1B 2UW

The Centre for Research and Education in Arts and Media (CREAM) of the University of Westminster is pleased to announce Exhibiting Performance, a three-day event considering contemporary issues central to the display of performance art. Following on from the Exhibiting Photography (2011) and Exhibiting Video (2012) International Conferences, this event will bring together notable artists, curators and writers, and provide a forum for a number of inter-related questions:

• On what terms has the rise of Performance in contemporary arts taken place?
• How do our museums and galleries disseminate and exhibit Performance?
• How does the live act of Performance inform questions around the body and the audience?
• How is Performance documented, archived and transacted?
• How does technology contribute to the development of Performance?

The conference will be framed by Indeterminacy, a John Cage performance by Stewart Lee, Tania Chen and Steve Beresford in the Old Lumiere Cinema, Regent Street and the exhibition of work by artists and writers responding to a live performance by Philip Lee and Cally Trench Do you remember it – or weren’t you there? at London Gallery West.

There will be four half-day themes:

Curating:
With Tate Modern opening the Tanks for performance events and Marina Abramovic’s major exhibition at New York’s MoMA in 2010, is performance art now mainstream, and on what terms? How do museums and galleries understand performance art?

Dissemination and Documentation:
How is performance documented ? If you missed the performance is that it? What value does an art work in a different medium which gives a memory of a performance have?

The Body and Audiences:
What is the role of the body in performance today ? Why do so many performance artists perform naked ? Is the naked body a sign of authenticity or does the taboo distract from meaning ? How is the relationship between artist and audience different from or similar to other areas of art?

Performance and Media:
How does technology mediate performance ? What are the ontologies of networked, mediated and recorded performance practices ? How is videoperformance ‘live’? How do different technologies of camera (webcam, surveillance, etc) and screens (CRT, flat, projection, mobile phone, computer, etc) change our concept of performance?

Confirmed Participants:
Franko B, artist; Steve Beresford, Performer and Musician, University of Westminster; Rocio Boliver, artist, Mel Brimfield, artist; Dr Gavin Butt, Goldsmith College; Jon Cairns, Central St Martins; Dr Maria Chatzichristodoulou, curator and performer, University of Hull; Tania Chen, Musician; Dr Rob la Frenais, Curator The Arts Catalyst; Professor Joram ten Brink, University of Westminster, Lois Keidan, founder, director Live Art Development Agency; Richard Layzell, artist, Middlesex University; Stewart Lee, writer and performer; Kira O’Reilly, artist University of Hull; Dr Lucy Reynolds, University of the Arts; Dr Marquard Smith, University of Westminster; Dr Margherita Sprio, University of Westminster; Gary Stevens, artist; Dr Tracey Warr, writer and curator, Oxford Brookes University; Catherine Wood, Curator, Contemporary Art & Performance at Tate; Silvia Ziranek, artist.

PROGRAMME AND REGISTRATION
http://www.westminster.ac.uk/research/a-z/cream/events/exhibiting-performance-conference

This conference will take place from 4.00pm on Friday 1 March to Sunday 3 March 2013. The fee for registration will be:
Full conference: Standard rate £85. One day rate £50
Full conference: Student rate £40. One day rate £30.
Performance only: £10 – Student Rate £5

PERFORMANCE
Indeterminacy, a John Cage performance
Sunday 3 March 2013, 6.30pm
Stewart Lee, Tania Chen and Steve Beresford
Regent Street Cinema
University of Westminster
309 Regent Street
London W1R 8AL

EXHIBITION:
Do you remember it – or weren’t you there?
Philip Lee and Cally Trench
31 January 2013 – 3 March 2013
London Gallery West, School of Media, Art and Design
University of Westminster, Watford Road, Harrow
Middlesex HA1 3TP

CFP: ‘Exhibiting Performance’, University of Westminster, London, 1-3 March 2013 – DEADLINE: 11TH FEB!

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Confirmed Participants:
Franko B, artist; Steve Beresford, Performer and Musician, University of Westminster; Mel Brimfield, artist; Gavin Butt, Goldsmith College; Jon Cairns, Central St Martins; Maria Chatzichristodoulou, curator and performer, University of Hull; Tania Chen, Musician; Rob la Frenais, Curator The Arts Catalyst; Richard Layzell, artist, Middlesex University; Stewart Lee, writer and performer; Kira O’Reilly, artist, University of Hull; Marquard Smith, University of Westminster; Margherita Sprio, University of Westminster; Gary Stevens, artist; Tracey Warr, writer and curator, Oxford Brookes University; Silvia Ziranek, artist.

Exhibiting Performance Conference, 1-3 March 2013
University of Westminster, 309 Regent Street, London, W1B 2UW

The Centre for Research and Education in Arts and Media (CREAM) is convening Exhibiting Performance, a three-day event considering contemporary issues central to the display of performanceart. Following on from the Exhibiting Photography (2011) and Exhibiting Video (2012) International Conferences, this event will bring together notable artists, curators and writers, and provide a forum for a number of inter-related questions: On what terms has the rise of Performance in contemporary arts taken place? How do our museums and galleries disseminate and exhibit Performance? How does the live act of Performance inform questions around the body and the audience? How is Performance documented, archived and transacted? How does technology contribute to the development of Performance?

The conference will be framed by the exhibition of work by artists and writers responding to a live performance by Philip Lee and Cally Trench, Do you remember it – or weren’t you there? at London Gallery West, and Indeterminacy, a John Cage performance by Stewart Lee, Tania Chen and Steve Beresford.

There will be four half-day themes:

Curating: With Tate Modern opening the Tanks for performance events and Marina Abramovic’s major exhibition at New York’s MoMA in 2010, is performance art now mainstream, and on what terms? How do museums and galleries understand performance art?

Dissemination and Documentation: How is performance documented ? If you missed the performance is that it? What value does an art work in a different medium which gives a memory of a performance have?

The Body and Audiences: What is the role of the body in performance today ? Why do so many performance artists perform naked ? Is the naked body a sign of authenticity or does the taboo distract from meaning ? How is the relationship between artist and audience different from or similar to other areas of art?

Performance and Technology: How does technology mediate performance ? What are the ontologies of networked, mediated and recorded performance practices ? How is videoperformance ‘live’? How do different technologies of camera (webcam, surveillance, etc) and screens (CRT, flat, projection, mobile phone, computer, etc) change our concept of performance?

ABSTRACT SUBMISSION
Please send a 200-word abstract by 11 February, 2013. Successful applicants will be notified by 15 February, 2013. They must include the presenter’s name, affiliation, email and postal address, together with the paper’s title. Please send abstracts to Amanda Wheeler A.Wheeler@westminster.ac.uk

PROGRAMME AND REGISTRATION
This conference will take place from 4.00pm on Friday 1 March to Sunday 3 March 2013. The fee for registration will be:
Full conference: Standard rate £85. One day rate £50
Full conference: Student rate £40. One day rate £30.
Performance only: £10
This covers all conference documentation, refreshments, receptions and administration costs. Registration will open at the begining of February 2013.

EXHIBITION:
Do you remember it – or weren’t you there?
Philip Lee and Cally Trench
31 January 2013 – 3 March 2013
London Gallery West, School of Media, Art and Design
University of Westminster, Watford Road, Harrow
Middlesex HA1 3TP

PERFORMANCE
Indeterminacy, a John Cage performance
Sunday 3 March 2013, 6.30pm
Stewart Lee, Tania Chen and Steve Beresford
University of Westminster
309 Regent Street
London W1R 8AL

Song Books recording, December 26 2012 on Resonance

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There will be a broadcast on Resonance Radio, 104.4 fm London and online, on Boxing Day, the 26th December, of Stefan Szczelkun’s arrangement and direction of a performance of John Cage’s magnum opus ‘Song Books’ that took place at Toynbee Theatre in Aldgate earlier this year. The programme will start at 5pm, with ‘Song Books’ broadcast between 5.30 and 6.32pm. The programme will end with Stefan reading a selection of rites from ‘Nature Study Notes’, 1969. This little publication, hand-written by Cornelius Cardew, was given to everyone who joined the Scratch Orchestra and was the main common literary reference for concert performances. This leads into the next stage of the research which will go on from Cage to explore the working methods of The Scratch Orchestra. There is also a review of the performance coming out in the February edition of The Wire.

Reminder:China in Britain #3: Theatre & Performance

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China in Britain: Myths and Realities
Theatre/Performance and Music

July 18th 2012, 9:45am – 5:30pm
The Old Cinema, 309 Regent Street, London W1B 2UW

You are warmly invited to the third in this University of Westminster/AHRC funded series. The day will present an eclectic programme with presentations from actors and broadcasters and academics. Dongshin Chang (City University of New York), Diana Yeh (Birkbeck College and University of East London), Simon Sladen (University of Winchester) and Ashley Thorpe (University of Reading) will present research that restores the history of China and Chineseness to the English stage, from Regency Extravaganzas, such as Chinese Sorcerer to chinoiserie theatre in the 1930s and Lady Precious Stream. We will look at subversive pantomime in Thatcher’s Britain, Poppy, and more recently Anna Chen’s Steampunk Opium Wars and Damon Albarn’s opera Monkey: Journey to the West.

The UK’s most high profile British Chinese actor, David Yip, remembered by many for his role as Detective Sergeant John Ho in The Chinese Detective will be talking about his new multimedia show Gold Mountain. There will be performances from comedienne, poet and political pundit, Anna Chen (aka Madame Miaow), actor David Lee-Jones, currently the lead in Richard III – the first British Chinese actor to be cast as one of Shakespeare’s English Kings – and Resonance Radio’s Lucky Cat DJ, Zoe Baxter, playing Korean Punk, Chinese Hip Hop and Reggae, Japanese Ska, Thai Country, and Singapore 60’s pop.

Entrance – including lunch and refreshments – is free of charge so for catering purposes it is essential to book your place by emailing: anne@translatingchina.info

China in Britain #3. Theatre and Music, July 18th

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China in Britain: Myths and Realities
Theatre/Performance and Music

July 18th 2012, 9:45am – 5:30pm
The Old Cinema, 309 Regent Street, London W1B 2UW

You are warmly invited to the third in this University of Westminster/AHRC funded series. The day will present an eclectic programme with presentations from actors and broadcasters and academics. Dongshin Chang (City University of New York), Diana Yeh (Birkbeck College and University of East London), Simon Sladen (University of Winchester) and Ashley Thorpe (University of Reading) will present research that restores the history of China and Chineseness to the English stage, from Regency Extravaganzas, such as Chinese Sorcerer to chinoiserie theatre in the 1930s and Lady Precious Stream. We will look at subversive pantomime in Thatcher’s Britain, Poppy, and more recently Anna Chen’s Steampunk Opium Wars and Damon Albarn’s opera Monkey: Journey to the West.

The UK’s most high profile British Chinese actor, David Yip, remembered by many for his role as Detective Sergeant John Ho in The Chinese Detective will be talking about his new multimedia show Gold Mountain. There will be performances from comedienne, poet and political pundit, Anna Chen (aka Madame Miaow), actor David Lee-Jones, currently the lead in Richard III – the first British Chinese actor to be cast as one of Shakespeare’s English Kings – and Resonance Radio’s Lucky Cat DJ, Zoe Baxter, playing Korean Punk, Chinese Hip Hop and Reggae, Japanese Ska, Thai Country, and Singapore 60’s pop.

Entrance – including lunch and refreshments – is free of charge so for catering purposes it is essential to book your place by emailing: anne@translatingchina.info

Usurp + Disinformation – Neurogenesis + सूकिर+ Jean Genet

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SCREAM HOWL SPEAK!
Kusum Normoyle, Alan Tomlinson, Steve Beresford + Disinformation
Live at Usurp, Tues 8 Nov 2011, 7pm sharp
Usurp Gallery, 140 Vaughan Road, London HA1 4EB

What is the connection between the works of French burglar and prostitute Jean Genet and of the 19th century Swiss crystallographer Louis Albert Necker? As an articulation of Jean Paul Sartre’s discourse on Genet’s embodiment of “the negative”, Disinformation remixes audio samples from the final interview with one of modern France’s most notorious writers, exploring perceptual ambiguities which link experiences of auditory and visual illusions.

Alan Tomlinson is a trombonist “who manages to be simultaneously the best & the funniest you have ever seen”. Alan was a long time member of Barry Guy’s London Jazz Composers Orchestra, has his own trio with Dave Tucker and Phil Marks, a trio in Berlin, and a duo with Romanian poet Virgil Mihaiu. Recent solos have been with a glass trombone, accompanying a fish & chip van and in the River Seven.

Kusum Normoyle works with extended vocal technique and noise for both performance and installation. Central to her practice is the idea of public space, intervention, and the displacement of normal expectations of the female body and voice, performing brief high-intensity vocal incursions which are extremely physical, dragging the audience into a hard, fast displays of screaming, amplification and feedback.

Internationally known as a superb free improviser on piano and electronics, Steve Beresford also composes scores for feature films and numerous TV shows and commercials. Steve has worked with hundreds of musicians, including Christian Marclay, Derek Bailey, Han Bennink, Ivor Cutler, Ray Davies, Najma Akhtar, Evan Parker, Adrian Sherwood, Otomo Yoshihide and John Zorn.

Further info at: http://www.usurp.org.uk/events/scream_howl_speak/

See: http://instituteformodern.co.uk/2011/neurogenesis-by-disinformation-usurp-signature-version

Emma McEvoy on Gothic Music and Performance

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A quick plug for a superb blog by IMCC affiliate Emma McEvoy, about late eighteenth-century gothic music and performance, on Stirling’s The Gothic Imagination site. As Glennis Byron puts it in the Comments: ‘The post, is, people, pretty amazing … As we plod along, talking about Twilight and True Blood and Zombies and all that ephemeral rubbish, and repeating the same old points about gothic over and over and over and over, some people are actually doing real research’. Read it here.

Call for Papers: IMAGE=GESTURE, Bergen, Norway, November 2011

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IMAGE=GESTURE
The 2011 Nomadikon Conference
Bergen, November 9-11, 2011

Confirmed keynote speakers:
Martin Jay (UC Berkeley)
Wendy Steiner (University of Pennsylvania)
Libby Saxton (University of London)
More TBA.

Images seduce. Images deceive. Images conceal. Images reveal. Images make icons. Images break icons. Images are agents of political struggle. Images are sacred. Images are secular. Images are powerful. Images are powerless. Images are banal objects. Images are aesthetic artefacts. Images embody cultural concepts materially. Images create concepts. Images are bodies without organs. Images are photographic. Images are cinematic. Images are digital. Images are real. Images are reality. Images are mimetic. Images are amimetic. Images are currency. Images are worthless. Images want something from us. Images witness. Images haunt us. Images are fundamentally unknowable. Images are entelechial. Images travel. Images are boundless. Images are transmutable. Images are ephemeral. Images are excessive. Images are inadequate. Images are mute. Images are language. Images are beyond language. Images disturb us. Images hurt us. Images are destructive. Images are redemptive. Images are transcendental. Images are transparent. Images are opaque. Images are worth more than a thousand words. Images are primitive. Images are historical. Images are poetic. Images are synechdochic. Images are rhetorical. Images shape the imaginary. Images are neural. Images are neutral. Images are ubiquitous. Images are haptic. Images are spiritual. Images are matter. Images matter. IMAGE=GESTURE.

Nomadikon now invites paper proposals that relate to the overall conference topic and to one or more of the streams below. Abstracts should not exceed 400 words. Please include a short bio. Deadline for submitting abstracts: November 10, 2010. Nomadikon also intends to publish one or more anthologies of articles based on material from the conference.

As a critical and heuristic trope, the gestural galvanizes many of the most pertinent areas of inquiry in contemporary debates and scholarship in visual culture and related disciplines:

a) Ethics: Images and their values and affects.
b) Ecology: Iconoclastic gestures and spaces of conflict.
c) Experience: The human as acts of mediation/product of the gaze.
d) Epistemology: Archive, document, memory.
e) Esthetics: From visual essentialism to transesthetics and synesthesia.

As both a cultural phenomenon and a philosophical concept, the notion of gesture straddles several disciplines, such as anthropology, linguistics, performance, theater, film and visual studies. At once a codified and natural expression, the gestural is peculiarly and somewhat ambiguously situated between the realm of the discursive and the realm of the instinctual, between the culture-specific and the universal, and between the corporeal and the visual. As a mode of mediation the gestural also traverses the distinct, albeit interrelated spheres of the political, the aesthetic and the everyday. A space of visual articulation in which rhetoric and semiotics intersect, the gestural produces movements and energies of eloquence capable of generating ideas, perceptions and affect.

Within the context of the present event, we would like to suggest that gesture could also rewardingly be re-deployed as a metaphorical and figurative concept. As among others Hans Belting has shown, there is a rather intimate connection between bodies and images, and if bodies can convey gestures, maybe images can too. Thus, we would like to ask: How may one speak not only of the gestures of the body but also of the gestures of the image? What constitutes gesturality in the image and, more broadly, what are the gestures of the aesthetic itself? In W.J.T. Mitchell’s already canonical postulation, pictures must be considered animated beings with drives, demands and desires of their own. They are, however, also in a sense mute beings incapable of speaking the hegemonic vernacular of logocentric discourses. But while pictures cannot speak in the literal sense, perhaps they have a gestural language of their own?

Children’s Theatre in the UK

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Theatre for a Young Audience in the UK

Karian Schuitema, a PhD student at Westminster, has organised a one-day conference to be held at the University on Friday 16th July. 

Keynote Speakers:
Wolfgang Schneider (University of Hildesheim, Germany. ASSITEJ President)
Matthew Reason (York St John University)
Jeanne Pigeon and Roger Deldime (Université Libre De Bruxelles. Founder of Centre de sociologie du théâtre and founders of Théâtre La Montagne Magique)

 Further details, including full programme on Karian’s website here.

Performance Matters

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The Whitechapel Salon: Matter Matters II: Performance Matters
Thursday 1st July, 7pm
Study Studio, Whitechapel Gallery, London E1 7QX

Spanning art, architecture, performance and sustainability, this year’s series of four Salon discussions focus on the matter of ‘matter’ – its nature, substance and the productive forces that govern it. For July Gavin Butt (Goldsmiths College, London), Adrian Heathfield (Roehampton University), and Lois Keidan (Director, Live Art Development Agency) consider Performance Matters.

Co-organised by the IMCC and Whitechapel Gallery. Book now to avoid disappointment!

Tickets: £8/£6 (includes free glass of wine)

http://www.whitechapelgallery.org