The AMIA are pleased to announce their support of a series of performances by the award winning collective JocJonJosch.
Working with over seventy volunteers JocJonJosch will create a performance sculpture: a ‘shelter’ made of naked human bodies. The ‘shelter’ will be held in an endured brace, will dismantle, and then reform. This will take place on three separate occasions in July at Tesbed 1, Will Alsop’s new project space in Battersea.
– – – – Book free tickets at www.jocjonjosch.com – – – – –
Saturday 16 July 1600 – 1830,
Sunday 17 July 1400 – 1630,
Saturday 23 July 2011 1600 – 1830
A concurrent exhibition in Son Gallery engages with the challenges faced in representing performance-type art, with specific reference to the Exsistere work. Moving away from traditional photographic and video documentation they concentrate on other ways in which an experiece of the live performance can continue to exist in the minds of participants and viewers. The installation uses hand blown sheets of black glass which react to the spectatros’ breath, revealing references to the performances.
The performance sculpture takes reference from the recent destruction caused by earthquakes and flooding in Australia, Japan and New Zealand. By bringing the human body and the built environment into a direct relationship, Existere confronts the frailty of our protective structures. JocJonJosch query the purpose of containment and assess meaning as it is made between the individual and the collective.
Existere develops recent work by JocJonJosch performed at the ICA (Institute of Contemporary Art) and Chelsea Space, as well as The Beasts series, installed in Son Gallery in 2010. The Beasts concentrated on collective identity and the stress involved in maintaining unity. It was also shown in Spoleto, Italy, by the Anna Mahler International Association; at Situation 1, Switzerland; and won an award at the Arte Laguna Prize, Venice earlier this year.
JocJonJosch is an award winning artistic collective comprised of Joc Marchington (b. London, England), Jonathan Brantschen (b. Visp, Switzerland) and Joschi Herczeg (b. Bratislava, Slovakia). They live and work in London and Basel.
We are pleased to present a performance in Spoleto tomorrow as part of the La Mama Spoleto Open:
Tadeusz Kantor, The Dead Class
with Anna Halczak and Franco Laera, also with David Gothard (reading in English)
Saturday 9 July, 1700, Sala Frau, Spoleto, Italy 16, Vicolo S. Filippo, Spoleto, PG 06049, Italia [0743 49922]
he Dead Class is now seen by history as a fundamental work of 20th century world theatre. The first performance of this perfect theatre machine of memory took place in Cracow on the 15th November 1975, in the cellar of a sixteenth century palace home to the Galeria Krzysztofery, a familiar meeting place for artists.
The recollections of childhood, memory and the ever present feeling of death are the subject of the “dramatic seance” (as Kantor defined the show), placed in the corner of a dark and indefinite space, by the light of a single lamp. Performed by Teatr Cricot2 more than a thousand times in the theatres of the world, incredibly The Dead Class has never been fully recorded with the exception of Andrzej Wajda’s film inspired by the performance, effectively recorded without a public in Paris.
This video edition, realised in Milan on the basis of research from several theatres that had hosted the show over 15 years, uses a rare piece of footage done in 1976 with video documents of various qualities which have been restored and edited digitally in order to restore the complete work on the basis of Kantor’s original writing. To preserve the exceptional language of this event, including its emotional impact, the projection of The Dead Class is intercut with the voice of Kantor himself, poetical and autobiographical texts.
On this special evening in memory of Ellen Stewart, the texts will be read by David Gothard. Then Director of the Riverside Studios, David was party to the presence of Kantor in the UK and elsewhere. In his voice will live the memory not only of Kantor but of many others, as at La Mama where Ellen was almost a sister, a faithful accomplice and tireless activist for the revival of the theatre scene in the twentieth century.
A project of Change Performing Arts Milano and Cricoteka / Centre of documentation for the work of Tadeusz Kantor Produced by CRT Artificio Milano, supported by the Anna Mahler International Association.
For more information please contact email@example.com
MY SON’S ABSENCE
Osteria Rossobastardo, Spoleto, opening Monday 4 July at 1200
Exhibition until 10 July, opening hours 1200 – 2400
The English photographer, Tim Smyth, supported by the Anna Mahler Association, continues his relationship with the Spoleto Open with a new exhibition at the Rossobardo Festival Centre. Entitled “My Son’s Absence”, it is a tribute to the courage of the young men of countries beyond Libya arriving at Lampedusa from Niger, Togo, Guinee, Nigeria and Sierra Leone. In Libya they have lost jobs and been maltreated through no fault of their own, including one young actor, after often horrendous journeys to obtain work. It is also a tribute to the work of the charity, Il Cerchio, which houses these refugees in the suburbs of Spoleto as it does throughout Italy.
It is also an expression of the Spoleto Open and Anna Mahler Association to engage in what is happening side by side with culture in the Festival city.
Each participant will have his own story and portrait.
LOCATION NUMBER 1 on map above, click to enlarge.
Cricot-2 Intensive Workshops Dates: June 13 – June 26, 2011
Supported by the Anna Mahler International Association
La MaMa Umbria International presents an incredible opportunity for a few participants to learn from members of Cricot-2, legendary director Tadeusz Kantor’s company from Poland. The workshop will be led by Teresa & Andrzej Welminski – actors of Cricot-2 Theatre and closest cooperators of Tadeusz Kantor for many years.
It will take place from June 13-June 26 at La MaMa Umbria in Spoleto, Italy, and will conclude with a public presentation included in the program of the special fringe event of the Spoleto Festival of 2 Worlds.
In order to encourage the participation of young theatre artists, La MaMa Umbria is offering a special 50% discount for students from Theatre Schools and Art Academies and for young theatre artists, under 28 years of age. For them the course will cost 400 euros. Participants can request the possibility to reside at La MaMa Umbria Center. The additional cost for food and lodging is 200 euros, for the entire duration of the workshop. The workshop is limited to a maximum of 15 participants. Those that are interested in participating will have to send as soon as possible a letter of request, including their bio, to firstname.lastname@example.org
The aim of the workshops is to explain closer the basic rules and innovative ideas of Cricot-2 Theatre. The Workshops include both theory and practice as well. Theory will be conveyed during conversations with participants, lectures and presentations of DVD movies. In theoretical section we will be trying to explain the basic conceptions of Cricot-2 Theatre activities. We will present a short history of the development of Cricot-2 Theatre’s ideas. We will present such key ideas as ‘reality of the lowest degree’, ‘memory cliché’, ‘manikins’ or idea of journey.
In practical section together with the participants we will trace the selected methods of artistic actions and the process of a performance formation. We will attempt together with participants to create etudes and scenes adopting methods mastered by Cricot. We will give some thoughts over the various theatrical spaces and their consequences for the actor; using an object by a performing actor; the meaning of a costume; bioobiects, function of text, etc.
Andrzej Welminski was born in Krakow in 1952 and studied in the Graphics Faculty of the Krakow Academy of Fine Arts, graduating in 1977. Teresa Welminski was born in Krakow in 1954 and studied at Collegium Medicum, Krakow. In 1973 Andrzej joined the Cricot Theatre and in 1975 Teresa, since then they participated in all the subsequent activities and spectacles of the collaborated experimental theatre company until the death of its founder, Tadeusz Kantor, in1990. They have been instrumental in developing the work of the company since Kantor’s death, and in 1991 they participated in the “Homage” that marked the first anniversary of his passing.
Special thanks to AMIA (Anna Mahler International Association) for their collaboration and support in making possible thIS workshop. Please forward this information to your contacts.
Tim Smyth has been invited to Spoleto by the Anna Mahler International Association on account of his excellent photography documenting the culture of food in the UK. In Umbria he will develop this recent work in a new environment in which food remains tied more directly to the land and consumerism is less prevalent.
After graduating with a Photography BA (Hons) from London College of Communication Tim Smyth (b.1985, Bristol, England) has exhibited his work at Son Gallery in Peckham, South London, in several exhibitions: A New Decade of Photography (2010), Vehicles (2010), and Exercises in Failure (2011). He also contributes photography to several editorials and has worked internationally for New Exposure and locally in North London for All Change, collectives using photography, amongst other art forms, to highlight social issues. He was the winner of the Hotshoe Student Award and most recently has been awarded a residency in Spoleto by the Anna Mahler International Association.
Underlying his photographic work is a strong social conscience. In 2008, with New Exposure, he produced a series entitled Lumi / Peka (River / River) in Mitrovica, Kosovo. He sensitively documented Kosovan Albanians and Serbian populations, divided by a bridge over the Ibar, sharing the pleasure of the river. Set amongst the landscape, however, are signs of distinct national alliances that fortify the underlying tension and resentment towards past conflict.
Other projects with New Exposure have taken Tim to Turkey and Syria. His fine art photography stems from his experiences in the documentary genre but tends towards complicating subjects through abstraction and aestheticising. His series Nature of Machines which depicts surfaces of car wrecks found in breakers yards. His interest in these surfaces was a culmination of cycling on dangerous roads in London, being hit by a car and witnessing a car overturning on a motorway. In the photographs he isolates areas of impact which are evidence of human error and misjudgment or unforeseen mechanical failure. His most recent work, which will be developed in Spoleto, stems from an ongoing interest in food as a cultural product. His Local series was made whilst he was living and working in a Gastro Pub in London. He photographed the visual dialogues that occurred throughout the building between its eight inhabitants, the staff and clientele. The series Surplus of Choice, in which the artist rearranges food found in dustbins for the camera, responds to a distaste for the wastefulness of consumer society. One Hundred and Thirty Nine Defective Carrots is another series, documenting market perceived food deficiencies, which addresses choice and value in food culture.
Mary Garner has been invited to Spoleto by the Anna Mahler International Association to explore print and books in dialogue with the local history of Umbria. The towns of Foligno, where the first printing presses of Italy were situated, and Fabriano, manufacturers of paper, will provide inspiration, alongside an engagment with local collections of artist’s books.
Mary Garner (b. 1985, London, England) studied at Wimbledon College of Art, London, and gained a first class BA (honours) degree in Drawing and Painting from Edinburgh University and Edinburgh College of Art. She was recently awarded the Royal Scottish Academy’s Kinross Scholarship to study in Florence. During this time Mary was able to spend an extended period of time living and working in Italy on her art.
Florence presented Mary with an opportunity to explore her interest in books and early printed material, particularly with early illuminated manuscripts and bibles. Mary studied the craft of bookbinding while at Edinburgh, combining both traditional methods with contemporary artist book designs. With inspiration from Florence’s extensive art and history, she combined these passions (fine art, the written word and the beauty of books as objects) by starting a post graduate course in book and paper conservation at Camberwell College of Arts, London.
Manual skills and dexterity as well as an eye for the aesthetic are all crucial in her approach to and assessment of objects and the manner in which they are conserved. An in depth training in chemistry and academic conservation science has broadened Mary’s education and equipped her with the necessary skills to apply preventative and non-interventive methods to books and artifacts. This amalgamation of interests and disciplines has fed and influenced Mary’s recent work. New projects, such as collaborative work with Son Gallery, London, on artist’s books have stimulated a new direction in her work.