Venice International Performance Art Week
Interview by A.E.Zimmer
THE EXPERIENCE AND PERCEPTION OF TIME.
A conversation with the artists Helena Goldwater, Weeks & Whitford, Snezana Golubovic, BBB Johannes Deimling and Zierle&Carter creators of the week-long series of LIVE DURATIONAL PERFORMANCES at the Art Week.
COME LA NEBBIA. Cronaca sentimentale di un primo ultimo giorno.
Fa particolarmente freddo nel Palazzo, le luci si stanno per abbassare, la gente comincia ad affluire nelle sale, mentre noi siamo qui, concentrati nella nostra scrittura, come al solito. Ma non è una giornata come le altre, si attende il gran finale, siamo tutti sottilmente emozionati, come dei ragazzini che aspettano l’inizio di una festa, come un sabato sera di diversi anni fa.
BUONA FORTUNA VENEZIA PERFORMANCE ART.
On December 21, 2012, the 5,000-year-old Mayan Calendar ended. We seem to have survived. On October 19, 1960 Yves Klein pretended to leap out of a window. We never landed. On January 17, 1963, Robert Filliou proposed that Art began one million years ago, when someone dropped a sponge into a bucket of water. We have been partying ever since. From December 8 to 15, 2012, the first edition of Venice Performance Art Week again redefined performance art. There is a fresh whiff in the breeze.
On Performance, As Usual: Venice Performance Art Week
I’ve been noticing some amazing images from the durational performance portion at the Venice International Performance Art Week. Here is a sampling or some of the artists I both know and have never heard of until now, all of whom I am very impressed and inspired by:
Zierle &…
DIY 9: 2012 - Call for Participants
UPCOMING WORKSHOP OPPORTUNITY
Zierle & Carter
At the edge of the land, of practice, and of knowing
West Penwith, Cornwall, UK
DIY 9: 2012 - Call for Participants
Taking flight or the fall? Exploring ‘the edge’ as departure point to the not yet known.
Project summary:
This three full day (four nights) intensive workshop will explore, in a sensorial and experiential way, what it is like to be out at the very periphery of a ‘bleak and rugged land’ – where historically experimentation, innovation, pioneering, radicality and alternative methods/philosophies have emerged strongly and are embedded in an ancient, seemingly ‘untouched’ landscape. Working site and context specific, we will be mapping the psycho-geographical landscape through our bodies and actions, trying to find our inner edge through exploring the outer edges, stepping into the spaces in-between land and water. Through body centred and material-led exercises/experimentations at sites along the West Penwith coastline, the workshop’s activities respond to the complex context and multiple realities revealed by being at the edge. Inhabiting a different space/site each day, the intention is to ‘get under the skin’ of what Cornwall ‘means’, ‘what it is’, and what its legacies are today; reflecting on its long industrial history, rich with processes of extracting, breaking down and filtering out, melting down and transforming. With a guided walk by the National Trust, an opportunity to ‘go underground’ and contextualising talks/presentations by local experts and residents, we will be working with the post-industrial legacy (disused mining sites), introducing durational processes – embedding and ‘anchoring’ actions back into the contemporary narrative of the landscape. We will adopt a peer support and skill sharing approach.
Dates, times and location:
Evening of Saturday 4 to Morning of Wednesday 8 August, 2012
10am – 9pm daily (on the Sunday, Monday, Tuesday).
At various sites of historical/contextual significance around West Penwith, Cornwall.
Based from our accommodation at Carnyorth Environmental Educational Centre, daily site visits will be made by foot and by minibus.
Nearest Train Station: Penzance (the ‘end of the line’), Cornwall.
Application procedure:
Applications welcome from practitioners from all levels of experience working within contemporary performance/cross interdisciplinary artforms. Please submit a short statement (approx. 500 words) that includes a description of your practice, an indication of a strong interest in the location and context specificity of the workshop and/or in durational, site-specific, process based and/or material-led enquiries, as well as how you feel you could contribute to the group. Include any relevant websites/links to your work and your email address and phone number. Send up to five related or representative images (no larger than 2MB each) with your statement to info@zierlecarterliveart.com (cc’d to diy@thisisliveart.co.uk) with ‘DIY 9’ in the subject line. For videos/sound please send as links in your application. There are 12 places available, with six places allocated for Southwest based practitioners.
Application deadline: Monday 9 July 2012
The artists:
Zierle & Carter are experienced workshop leaders, lecturers and project managers. As artists, they critically examine different modes of communication and what it means to be human, addressing notions of belonging, dynamics within relationships, and the transformation of limitations. Their work sites an embodied investigation into human interactions and encounters, acting as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The work fundamentally explores society’s conventions, traditions and rituals, often flipping them on their head, reversing orders and disrupting the norm. Working internationally, their site-specific work takes on many guises and has been shown in galleries, in cupboards, empty cinemas, busy shopping areas, city parks, in libraries, tunnels, World War 2 bunkers, and created from working nomadically in wilderness – on snow covered mountain plateaus, at craters of volcanoes, and on the edge of a stormy cliff.
For further info see http://www.zierlecarterliveart.com or http://throughtheheartperformances.tumblr.com
Contact information:
Please feel free to contact us on info@zierlecarterliveart.com with any questions you might have about the workshop.
This DIY project is supported by The Works, Dance and Theatre Cornwall.
This project was a response to the DIY 9 Call for Proposals
DIY 9 is a Live Art Development Agency initiative developed in collaboration with Abandon Normal Devices (North West), Artsadmin (national), Colchester Arts Centre (East), Fierce (West Midlands), Live at LICA (North West), The Performance Centre at University College Falmouth (South West), PLATFORM (national), Sound and Music (National), Whitstable Biennale (South East), Yorkshire Sculpture Park (Yorkshire), and The Works, Dance and Theatre Cornwall (South West).
http://www.zierlecarterliveart.com
We have done a major update and restructuring of our website so that it now includes all the work we have done to date as Zierle & Carter in all it’s various forms!
We would really appreciate your honest and critical feedback via the ‘feedback’ tab on the main menu bar.
Thank you
Paul Carter & Alexandra Zierle
Zierle & Carter
Images by Steve Tanner of our work as part of the Performance Transition exhibition at The Exchange Gallery, including our Canadian Banff series of photographic works created on our residency at the Banff Centre, and ‘Hour Glass’ and ‘Head to Head’, light box photographic prints from a collaboration with Manuel Vason last year as part his Live Art Development Agency DIY7 workshop entitled ‘Becoming and image’ .
This video piece is a collaboration with Manuel Vason and was created in December 2011 during our ‘Performance Transition’ residency slot at The Exchange. During our 5 days together we explored notions of image and performance and their intricate relationship, in preparation to working at greater length later this year for Manuel’s latest publication ‘Double Exposures’. Experimenting with various media as image, this body of work organically came out of a atmosphere of collaborative play and improvisation. Performed by Zierle & Carter and filmed by Manuel Vason. Edited by Manuel Vason, Zierle & Carter and Jo Hellier.
This image is a collaboration with Manuel Vason and was created in December 2011 in the bunker at Happidrome (Goonhilly Nature Reserve) on the Lizard peninsula Cornwall during our ‘Performance Transition’ residency slot at The Exchange. During our 5 days together we explored notions of image and performance and their intricate relationship, in preparation to working at greater length later this year for Manuel’s latest publication ‘Double Exposures’. This image grew organically and naturally out of a process to create a iconic body based performative image for camera. After creating the image we felt that the setup that was necessary to create the image; the trace itself was enough and that just a subtle and architectural presence of our bodies was needed. The image was taken by Manuel Vason with the assistance of Jo Hellier.
This video piece is a collaboration between Alexandra Zierle, Manuel Vason and Paul Carter and was created in December 2011 on the cliffs at Kynance Cove during their ‘Performance Transition’ residency slot at The Exchange. During their 5 days together the artists explored notions of image and performance and their intricate relationship, in preparation to working at greater length later this year for Manuel’s latest publication ‘Double Exposures’. Experimenting with various media as image, this work organically came out of a atmosphere of play and improvisation in the wind at dusk, where the artists (kindly assisted by Jo Hellier) responded to the gale force winds with a symbolic and poetic action at the edge. Performed by Zierle & Carter and filmed by Manuel Vason. Edited by Manuel Vason, Zierle & Carter and Jo Hellier.
This video piece is a collaboration between Alexandra Zierle, Manuel Vason and Paul Carter and was created in December 2011 at Happidrome (Goonhilly Nature Reserve) during their ‘Performance Transition’ residency slot at The Exchange. During their 5 days together the artists explored notions of image and performance and their intricate relationship, in preparation to working at greater length later this year for Manuel’s latest publication ‘Double Exposures’. Experimenting with various media as image, this work organically came out of a atmosphere of play and improvisation at the site, where Alexandra spontaneously responded to the tree, Manuel decided to film a section of the action and without consultation or dialogue Paul edited the film.
Performed at this years Mozg Festival in Poland, Spilled Measures Dancing at My Feet is performance that explores notions of love, of constriction, status, conditioning and setting free, and looks into the symbology of pearls, as a symbol of wisdom, a gift and of love.
Throughout the course of the performance as milk drips in to shoes and fire burns down, 10000 pearls move through the space, fall to the floor, make contact with audience members, and uncontrollably scatter and run free, eventually to be transmuted by the milk and ash.
All images taken by Danuta Milewska and Krzysztof Pawlowski.
Performed at this years Mozg Festival in Poland, Spilled Measures Dancing at My Feet is performance that explores notions of love, of constriction, status, conditioning and setting free, and looks into the symbology of pearls, as a symbol of wisdom, a gift and of love.
Throughout the course of the performance as milk drips in to shoes and fire burns down, 10000 pearls move through the space, fall to the floor, make contact with audience members, and uncontrollably scatter and run free, eventually to be transmuted by the milk and ash.
All images taken by Danuta Milewska and Krzysztof Pawlowski.
Performed at this years Mozg Festival in Poland, Spilled Measures Dancing at My Feet is performance that explores notions of love, of constriction, status, conditioning and setting free, and looks into the symbology of pearls, as a symbol of wisdom, a gift and of love.
Throughout the course of the performance as milk drips in to shoes and fire burns down, 10000 pearls move through the space, fall to the floor, make contact with audience members, and uncontrollably scatter and run free, eventually to be transmuted by the milk and ash.
All images taken by Danuta Milewska and Krzysztof Pawlowski.
