IF I CAN’T DANCE, I DON’T WANT TO BE PART OF YOUR REVOLUTION Social Movement Programme: FINAL DAYS November 29, 30 December 1, 2, 3 and 4. Do not miss out on Rhea Anastas, keyon gaskin, Nataša Petrešin-Bachelez, Mounira Al Solh and guests.

28.11.18 | tag: Amsterdam

Rhea Anastas

( b. 1969, Gloucester. Lives in Los Angeles) is an art historian, critic, and curator; she initiates a study of artist and philosopher Adrian Piper’s work Some Reflective Surfaces(1975–76) in which Piper appears as a disco dancer in modified Mythic Being guise with narration and film, performing for the first time in formal terms for an art audience.
Reading with audience discussion
Thursday 29 November 2018, 19–20.30hr
“What You Know from How I Move”: excerpts from viewing and researchingAdrian Piper’s Some Reflective Surfaces (1975–76), the audience-orientated performance at the Whitney Museum of American Art, New York, 28 February 1976 in the exhibition Adrian Piper: A Synthesis of Intuitions, 1965–2016
Piper created this version of Some Reflective Surfaces on a stage at the Whitney Museum of American Art in New York on February 28, 1976 as part of a multi-day programme of live pieces commissioned by the Whitney from figures active in New York’s downtown experimentalism circles. Rhea Anastas will read excerpts of her writing from a research period spanning from the summer of 2017 to the present. In 2018, Piper’s exhibitions Adrian Piper: A Synthesis of Intuitions, 1965–2016 and Adrian Piper: Concepts and Intuitions, 1965– 2016 were staged. These museum surveys, the largest of Piper’s career, with works from public and private collections around the world, were generated out of a four-year-long collaboration between Piper; the Museum of Modern Art, New York; and the Hammer Museum, Los Angeles. Anastas’s talk explores parallels between some specific intersubjective dynamics within the watching and being-watched of Some Reflective Surfaces, as well as the spacing mechanisms (in time, context, and conditions) that are entailed in apprehending and reflecting on this work.

University of Amsterdam Auditorium

Oudemanhuispoort 4-6, 1012 CN Amsterdam

The Netherlands

€5

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keyon gaskin

prefers not to contextualize their art with their credentials.

King’s Day Protest

Screening
Friday 30 November 2018, 17.45hr

NASHA

Performance
Friday 30 November 2018, 18.15–22.30hr

A gathering of three performances with keyon gaskin and friends. NASHA is an attempt at being less lonely when travelling, named after the artist’s little sister. It centres on and values black sociality, and resists creating something “new” through stipulation, giving context through experience.

Bijlmer Parktheater

Anton de Komplein 240, 1102 DR Amsterdam

The Netherlands

€15 adults / €12,50 students

(includes meal)

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Nataša Petrešin-Bachelez

(b. 1976, Ljubljana. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist, and author of several videos, Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris), including her unfinished film Calamity on American frontierswoman Calamity Jane’s published letters to her daughter.

Defiant Muse: Delphine Seyrig (DAY I)

Screening
Saturday 1 December 2018, 20–23hr

Defiant Muse: Delphine Seyrig (DAY II)

Lecture
Sunday 2 December 2018, 11.30–16hr

Afterward Petrešin-Bachelez elaborates on her research into Seyrig’s unrealized black-and-white silent feature film Calamity based on letters allegedly written by American frontierswoman Calamity Jane to her daughter (first edited by Jean Hickok McCormick in 1949). During production in the late 1970s, Seyrig first involved filmmaker Babette Mangolte to film research footage in Billings, Montana and later, among others, poet and painter Etel Adnan to produce a text. In this film Seyrig wished to explore the mother-daughter relationship, undergirded by her long-term interest in American culture and arts.

Writer and curator Nataša Petrešin-Bachelez and art historian Giovanna Zapperi introduce their larger 2019–20 exhibition project on Delphine Seyrig at Musée d’art moderne, d’art contemporain et d’art brut, Lille and Museo Nacional Centro de Arte Reina Sofía, Madrid. Videos, artworks, and public and personal archives appear in non-linear order in the exhibition whose themes take up the Seyrig’s critical engagement with countering normativity, disobedient practices, transnational struggles, and research into anti-psychiatric movement.

Veem House for Performance

Van Diemenstraat 408-410, 1013 CR Amsterdam

The Netherlands

€12 adults / €7 students

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Mounira Al Solh

(b. 1978, Beirut. Lives in Beirut and Zutphen, NL) traces the movement of stories to reflect upon her personal history and those of the people she encounters in order to consider how social and political themes are grounded in daily life; here, she creates a new experimental documentary in collaboration with four women affected by the Syrian war.

Who would spray that?

Screening
Tuesday 4 December 2018, 19–21.30hr
An avant-première of a new experimental documentary, introduced with live music and accompanied by a Syrian banquet.

The artist spent 24 hours with four women—Rogine, Waad, Hanin, and Zeina—in the cities to which they relocated from Lebanon and Syria. Together, they made a documentary that follows personal discussions, people, and the places related to these women. They ask questions like: is exile a choice or an accident, and are they even in exile? What is being home anyway? How do we behave in our new countries? How does the abuse of the word “refugees” affect us? What does singing mean for Rogine now that she lives in Zutphen? How does Hanin take part in international political life while based in Washington DC with her son? How does Waad in Oslo use rich body language to share her visions rather than speak about the personal and the political? How does Zeina go on with all her family now recently relocated to Sharjah?

col, English and Arabic with English subtitles

ZID Theatre

De Roos van Dekamaweg 1, 1061 HR Amsterdam

The Netherlands

€12,50 adults / €10 students

(includes meal)

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