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@ Skillbuilding, 28th – 29th – 30th July 2014

DRO | Centrale Fies

Continua fino al 10 luglio  la residenza artistica che porterà alla creazione di 9 performance per il premio Live Works: un progetto di Centrale Fies in collaborazione con Viafarini DOCVA, a cura di  Barbara Boninsegna, Simone Frangi, Denis Isaia  in collaborazione con Daniel Blanga-Gubbay.

ATPdiary, vi presenta Live Works 2014 parte II: la raccolta delle interviste agli ultimi artisti selezionati per il premio.

//////////\\\\\\\\\\\ Interviste e approfondimenti di Valeria Marchi

Dennis Vanderbroeck,   How you survive the future no. 7,   2013

Dennis Vanderbroeck, How you survive the future no. 7, 2013

Live Works here again. Some questions and answers from the 9 finalists of the award of performance Live Works PERFORMANCE ACT AWARD Vol. 2. The artists will be in residency from 1st to 10th of July at Centrale Fies in Dro (Trento) for producing their works. 

The performances produced will be presented during Skillbuilding – 34th edition of the Drodesera Festival of Performing Arts (28th – 29th – 30th July 2014). The finalists presentation sessions will be introduced every day by a guest performance. 

? Riccardo Giacconi  has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. He was artist-in-residence in Viafarini (Milan), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). He presented his films at several festivals, including the Rome Film Festival, the Torino Film Festival and the FID Marseille International Film Festival. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication ‘Paesaggio’ and the ‘Helicotrema’ festival. He lives between Cali (Colombia) and Italy.

? Curt Steckel: “My current work is focusing on the ideas of failure, permanence, transitions, and masculinity. Having grown up as an athlete in multiple sports, the specific societal realm of athletics contains underlying ideals, which can have a dual nature that is positive and negative at the same time. Overlapping that is the nature of failure as one is pushed both physically and mentally towards breaking points while subconsciously not permitted to fail. I have been focusing more on photography and performance, but have used other media such as video, sculpture, and installation. Performance and photography have developed into a working relationship in which they rely on each other. Most performances are viewed as documentation and not as live events and I have been investigating that tension. What are the other forms of communication in this technology-laden society if one removes the two most prominent forms: photography and video? An ongoing series of work I have titled Unseen Performances attempts to tease out the answers to that question. By not allowing anyone to view the performance live, the other veins of experience that performance can have are heightened.

? David Bernstein (1988, San Antonio, Texas) is an artist based in Amsterdam. He combines performance, sculpture, and writing to tell stories through objects. He has presented his work internationally at Walden Affairs, The Hague (2014); Nomas Foundation, Rome (2013); Performa 13, NY (2013); CAC, Vilnius (2013); Frutta, Rome (2013); De Appel, Amsterdam (2013); and SculptureCenter, NY (2012). 

? Corinne Mazzoli (b.1984) lives and in Venice. In 2008 received a BA at the Academy of Fine Arts of Florence. In 2012 received her MA in Visual arts from the Iuav University of Venice. She herself represents distorted and corrupt realities exploiting various media, from books to video, from installation to performance. Among the others she has exhibited at Monotono Gallery in Vicenza, Crepaccio in Milano, Bevilacqua La Masa in Venice, MSGSU Tophane Culture Center in Istanbul, La Fenice Gallery in Venice and inside the exhibition ‘Baton Sinister’ Norwegian Pavilion for the 54^ Esposizione Internazionale d’Arte di Venezia. For one year 2013 – 2014 she was artist in residence at the Bevilacqua La Masa Atelier Programme where she won the Stonefly Prize with ‘Tutorial #1: How to get a Thigh Gap’. ?

?Dennis Vanderbroeck (NL 1990) is a London based artist. In his work he creates crossovers between fashion, fine art and performance art with the use of video, photography and live performance as his main media areas. His work is often described as witty, humorous and with his sometimes-childish approach he creates hyper esthetical images in which he communicates on an associative and intuitive level with his viewer, spectator or audience. His photography can be considered as registrations of happenings, his suits are not fashion but sculptural pieces and his videos are registrations of live performances.

Riccardo Giacconi - La paradoja de Einstein-Podolsky-Rosen - video 2012

Riccardo Giacconi – La paradoja de Einstein-Podolsky-Rosen – video 2012

1. “A performative act is a real action that modifies the real.” What is performance and performativity for you? Do you think these concepts have any kind of boundaries or trespassings in the context of contemporary art and in the context of the real world?

Curt Steckel: Performance has discovery, which is no different than any of the other art practices. However, for a performance, that moment of discovery happens in real time, right in front of the viewer (whether that is the audience, or the artist). That moment, whether it is brief, or long lasting, has a different resonance to it when it is seen live, in place of seeing it as a recording. There are also different senses, like smell, touch, or taste that is part of who we are that cannot be a part of a performance if it is not live. A recording of a performance, the viewer is much more comfortable because they have complete control. They choose when they watch it, where, if they watch the entire thing, or fast forward. At a live performance they have similar “controls” because they don’t have to stay and watch the entire performance, but they don’t have complete control; not in their home, can’t fast forward, in a different location, while also maybe having moral or ethical questions arise in their mind if they feel a need to interrupt the performance, or participate. Contemporary art is encompassing everything, every feature of life, therefore it is becoming boundary-less.

Corinne Mazzoli: A performative act gives to the spectator a pause for thought. Thought itself is a form of work, an action destined to modify how we see the world and so the world itself. I therefore never thought of a performative act as something disconnected from contemporary art and from the real world.

Riccardo Giacconi:  I think it can be useful to come back to a definition of theatre Peter Brook provided in 1968: “A man walks across this empty stage whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged”. Following this idea, we could say that art itself is not something per se.Rather, it is a certain modality of existence of something. It is a “signature” that we leave on something in order to include it in a certain narrative; it is an intensity, a current that flows through something. We can say we have art only when we use something as such: in the end, it is nothing more than a certainperformance of a certain element.

David Bernstein: Performance for me is about recognizing the presence of time and life in everything. In that way, everything could be performance if seen through your chosen lens. Take even an object, a physical art work. Most works we define as static (other than mobile works), we decide its meaning, it’s title, it’s year of production and then basta, bring the money to Monet. But of course it is not so brutal as that, I don’t mean to be cynical. I mean to suggest that our relation to a physical work is as if it is frozen, at some point you are actively creating something, you are performing a creation, and then it freezes into the “work” and at this point everything should be clearly defined and preserved forever. But we know that Ice can crack and melt, it can take other forms and change. My interest in performance is to show the ice and play with it. If you take a painting for example and forget about what we know it should be, it is a material thing, it has properties, and our imagination can invent other ideas than the intention. I am interested in how physical things can inspire thought, and thought can change the way we make things, see things, and dream. I treat objects a scripts that become activated. A sculpture inspires a speech that changes the way we relate with the sculpture, our memory is now captured in the thing. And in the future anyway, our relation to art will most likely change in unforeseeable ways. And so everything that we know now about a work could be forgotten, appropriated, and transformed. Maybe your sculpture will become a future pancake maker. 

?Dennis Vanderbroeck: Since I did my bachelors in Performance Art at a theatre academy, I always approached performance from a theatrical perspective/intention. Now with my masters Fine Art at Central Saint Martins in London, I am out of my comfortable theatrical setting and “forced” to approach performance from the Fine Art perspective, which gives an intriguing friction and dimension to my Practice. Performativity is such a wide concept for me. I prefer not to see it as a framed concept but much more as a fluid and organic way of creating live pieces where an audience is always involved. For me having a performative practice has always something to do with communicating with an audience, seeing an audience as a participant instead of a viewer.

2. Could you tell me something about your project for Live Works?

Corinne Mazzoli: Sorry it’s TOP SECRET, what I can say is that it will be the sequel of ‘Tutorial #1′.

Curt Steckel: The project for Live Works deals with the very nature of performance and how in our media laden lives currently, most experiences performance through video or photography.  Also, most of that is through technology, our computers or phones, and how the processing of viewing them in that manner changes how the performance itself is scene.  Performance has so many more aspects than just visual, that the video/photograph undermines these other properties, which can be extremely powerful.

Riccardo Giacconi: My project for Live Works is called “Il “nonnulla”, and concerns the possibility to create a new translation for a text. At the end of World War I my great-grandfather, who fought on the  Carso front, found a manuscript in German inside an Austrian trench. At the end of the war he had it translated, discovering that it was the war diary of a Bohemian officer of the Austrian army. At the death of my great-grandfather, the original manuscript had already been lost, along with the first page of the translation, typed in Italian .

David Bernstein: I will be telling a story about an object that came from my great grandfather of Lithuania. It was a very important religious object, but when my parents weren’t at home, we used to play baseball with it. I will have the object at Centrale Fies and if you are careful, I’ll let you touch it, maybe even play baseball with it if you promise not to tell my parents. 

?Dennis Vanderbroeck: During the residency at Live Works I will create a new performative piece entitled “This selfie should justify my existence”. Instead of performing myself I will be working with tperformers for the first time. In “This selfie should justify my existence” three skinny tall men, like myself, will be creating a gigantic flag. The flag will be made out of eighteen sweatshirts, worn by the performers, all with big capital letters printed on them revealing my name. By literally taking distance from myself in using performers, one of the core concerns of this research evolves around the question of how you can justify your right of existence and how you can generate “proof” of this. With looking at myself from the outside I hope to create an experience, which on the one hand generates a feeling of freedom, and on the other hand marks the fact that I was there in an almost obsessive and sinister way. I am concerned with the friction between the sincere attempt to justify my existence as an individual in a self-worshipping way, whilst creating a collective experience with the audience.

3. Few words to describe your artistic research: please give me a sort of index or some key-words. Use metaphorical, poetical, concrete, abstract words or any kind you want.

Curt Steckel: The research is a mountain. Sometimes it is an uphill climb. Slow. Filled with retracing steps, finding the right path. Other times it is a downhill sprint, trying to keep my feet underneath me as everything comes towards me at high speed.

Corinne Mazzoli: Bruise, Cruise, Strawberry Shortcake!

David Bernstein: I almost just drank a candle that was sitting next to me, the glass looked so similar to my cup!
I think this image is funny and suggests a thought process but doesn’t really do a good job:
Some words:
Thinging
Pastapun met mint oysters
Loophole
ikebanana
Restorun
Spatula
intwisting
lazy suzy
Theoretical Hamburger
Flip 

Dennis Vanderbroeck: NEST2GO/ the shirt/ the fall/ the wink/ the stare/ exposed/ the D. Vanderbroeck and the nine smiling people series/ the blow up suit series/ the minty mountain landscape/ how blue was bad and yellow good/ parallel lines never come together / the back pack blow up suit / how you survive the future / we’re never gonna survive / the back pack tent suit series / nothingsomethingalot/ how vanishing solves everything – the london series/ how vanishing never solved anything – the london series/ the flashy fringe suit/ the “DENNIS” sweatshirt series/ this selfie should justify my existence.

This is a chronological list of the titles of my work.

LIVE WORKS in residency visual library : live works in residency - foto Michele Miorelli

LIVE WORKS in residency visual library : live works in residency – foto Michele Miorelli