DOCSLIB.ORG

Ma Fille De Ans Pourrait Le Faire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ma Fille De Ans Pourrait Le Faire CONTEMPORAINMA FILLE DE ANS POURRAIT LE FAIRE L’ARTBRISONS LES MURS ET LES CLICHÉS Rencontrez 10 artistes - Visitez 100 lieux Découvrez une ville différemment ateliershenrydougier.com AFFICHE_10_100_A3_MA_FILLE_V3.indd 1 24/01/2020 15:06 TISTES10 100LIX UN LIVRE + UN GUIDE Le livre – 2 préfaciers évoquent la scène artistique de la ville depuis 50 ans – 10 artistes racontent leur travail, leurs RTITE inspirations et leur rapport à la ville 10 Londres Le guide Visite guidée de 100 lieux clés de la ville + classés par quartier et par discipline, cartes à l'appui 100LIX Michèle Fajtmann Préfaces de Hannah Barry et Daniel Rachel AU CŒUR DE LA CRÉATION CONTEMPORAINE AU CŒUR DE LA CRÉATION SOM- Créée en 2014, la maison dédition les ateliers henry dougier souhaite « raconter » la société contemporaine dans le monde, en donnant la parole aujourdhui à des témoins souvent invisibles et inaudibles : peuples, régions, métiers, catégories sociales ou générationnelles parlent ici de leurs valeurs, de leur mémoire, MAIRE de leur imaginaire, de leur créativité. Notre objectif : briser les murs et les clichés. Avant-propos de l’auteure 6-9 Préface de Daniel Rachel 10-13 Préface de Hannah Barry 14-17 Entretiens avec 10 artistes 18-97 Portraits de 100 lieux clés 98-155 + cartographie par quartier Index des 100 lieux 156-159 01. ENTRE TIE20.NS Eileen Cooper 28. Akram Khan 36. Anna Meredith 44. Yinka Ilori 52. Mary Katrantzou AVEC 60. Ben Eine 68. Amanda Levete 76. Conrad Shawcross 84. Gillian Wearing RTITE10 92. Simon McBurney | Entretien avec Eileen Cooper | 20 21 ileen Cooper grandit à Glossop. Durant sa scolarité, Eelle dessine et est très vite remarquée pour son talent. « Peut-être que cétait ma capacité de concentration qui atti- Eileen Cooper rait lattention. Dessiner, cétait mon échappatoire. Je nai pas que des souvenirs roses de mon enfance. Cétait le Nord de lAngleterre. La guerre était encore dans les esprits. Mes parents se sont mariés très jeunes, ils ont eu rapidement trois Artiste plasticienne enfants et du mal à joindre les deux bouts. Ma mère et ma grand-mère ont eu une grande inuence sur moi. À lécole, www.eileencooper.co.uk jétais toujours remarquée par mes professeurs dart qui me complimentaient et cela ma donné conance. » À 17 ans, elle intègre le collège dAshton-under-Lyne où elle suit un cours de base en art et design. Ensuite, elle se rend à Londres pour étudier dabord à Goldsmiths (de 1971 à 1974), puis au Royal College of Art, sous la supervision de lartiste Peter de Francia (1921-2012). « Jai fait partie de la génération de ceux qui ont eu la chance de bénécier dune subvention du gouvernement. On recevait une somme dargent pour vivre durant nos études. Il ny avait pas de ais de scolarité dans les écoles à cette époque. Je recevais même parfois des compléments, des bourses pour oyager. Mes six années détudes à Londres ont été prises en charge. Jétais la première de ma famille à poursuivre des études supérieures et cela ma donné une certaine indépendance. Je oulais échapper à mon environnement et, à 18 ans, jétais très excitée à lidée Avec l’aimable autorisation de l’artiste et de la Royal Academy of Arts ____ Eileen Cooper est née à Glossop, près de Manchester en 1953. Elle fait partie des artistes guratifs majeurs apparus dans le milieu des années 1980 en Angleterre. Chef de le des femmes peintres de sa génération, elle est élue membre de la Royal Academy en 2001. Quelques années plus tard, elle devient Head of Printmaking aux courtesy of Eileen Cooper © Justin Piperger Royal Academy Schools et, en 2010, elle est la première femme élue Keeper of the Royal Academy depuis sa fondation en 1768. Gemini, Elle occupe ce poste jusquà lété 2017, où elle est commissaire de la « Summer Exhibition ». En 2015, « Hide and Seek », une rétrospective de ses dessins, est organisée à la Royal Academy, qui publie aussi sa monographie. Parallèlement, Eileen Cooper a enseigné durant toute sa carrière, notamment aux Central Saint Martins, Royal College of Art et Royal Academy Schools. En 2016, elle reçoit lordre de lEmpire britannique (OBE) pour sa contribution artistique et à lenseignement des arts. | Entretien avec Eileen Cooper | 26 27 du ballet Gisèle du début jusquà la n. Je suis allée aux répétitions de lEnglish National Ballet et jai dessiné les dan- seurs en mouvement. Je me suis entretenue avec les costumiers. Javais déjà travaillé dans le passé sur des dessins de Léon Bakst [1866-1924, NDA]. Une des ballerines a également posé pour moi dans mon studio à la RA. Jai fait des peintures et gravures sur ce thème. Cétait un très beau projet. » Depuis 2010, elle se rend fréquemment en résidence en France, à Alayrac, où elle a développé une série de col- lages. « Comme je dois oyager avec peu de matériel, jai pris avec moi un système de gravure très élémentaire, beaucoup de Tickling Mummys Toes, courtesy of Eileen Cooper © Justin Piperger papier, des outils, de la gouache, de lencre, du fusain. Il y a une grande table dans le studio et jai commencé à couper des morceaux de la gravure. Ces œuvres allient la gravure et le dessin, et apportent une certaine abstraction à mon travail. Mon travail en bronze est également fort lié à ces collages. » Eileen Cooper a consacré sa vie à lenseignement de lart et a été professeure dans les meilleures institutions londoniennes, toutes de renommée internationale. « Jai en eet remarqué certains changements. Les femmes artistes ont commencé très tôt à explorer des sujets liés à la sexualité, à leur identité féminine. Les hommes avaient du mal à aborder ces sujets. Peut-être le faisaient-ils à travers labstraction comme Baselitz [né en 1938, NDA] ou De Kooning [1904-1997, NDA], mais cest mon interpréta- tion… Cependant, depuis les dernières Je cherche à explorer années, je remarque que les étudiants de nouveaux sujets, masculins sont davantage enclins à tra- de nouveaux matériaux vailler sur des sujets plus autobiographiques : ils explorent leur identité, leur sexualité, leur féminité. Je trouve cela fort inté- ressant. Il y a aussi lémergence dartistes venant de groupes ethniques ou culturels qui étaient jusquici sous-représentés et qui explorent aussi leur identité. Puis, il y a des étudiants plus âgés, ce qui crée un environnement intergénérationnel intéressant. Ces changements sont fascinants. Il y a également les nouvelles technologies qui pénètrent dans le travail. Jy suis très ouverte. Ces jeunes ont grandi en créant de la musique et des lms sur leur ordinateur et cest normal quils développent de nouvelles façons de créer. Il est devenu très dicile pour un jeune artiste de vivre à Londres, davoir un appartement et un studio, un travail à temps partiel et susamment de temps pour développer son art. Cest un vrai combat et cest pour cela que certains quittent Londres pour Berlin, Lisbonne ou des petites villes côtières… Dun autre côté, la créativité est beaucoup plus visible aujourdhui via les réseaux sociaux et les opportunités de collaborations pluridisciplinaires, plus équentes. » | Entretien avec Anna Meredith | 36 37 nna Meredith quitte Londres à lâge de 2 ans pour lÉcosse. Cest là, durant sa scolarité, quelle débute Alapprentissage musical : elle joue de la clarinette et chante Anna Meredith dans une chorale. « À Édimbourg, à lécole publique, on avait un programme musical remarquable et très intense », se souvient-elle. Ce nest que bien plus tard, après des études de musique à luniversité de York, quelle retourne Compositrice, productrice, musicienne vivre dans sa ville natale quelle ne quittera plus. « Je souhaitais poursuivre mes études et certains de mes amis www.annameredith.com avaient choisi le Royal College of Music de Londres. Cest là que jai été acceptée. À cette époque, je ne pensais absolument pas faire ma vie à Londres ! » Poussée déjà par lenvie de créer, elle ne se contente pas de suivre les cours de composition et de fréquenter les salles de concert. « Au Royal College of Music, jai eu énormément de chance de me faire un groupe damis, explique-t-elle. Les cours étaient académiques. Du coup, javais besoin dune autre activité à lextérieur. En 2003, nous avons créé le Camberwell Composers’ Collective. Cela nous a permis de composer pour le plaisir, dexplorer et de jouer. Cette période a été décisive. Je suis dailleurs toujours en contact avec eux et je les appelle lorsque je suis bloquée sur une de mes compositions… » Anna Meredith est très attachée à lart visuel. « Pour moi, le visuel amplie lexpérience sonore », précise-t- elle. Elle aime particulièrement travailler avec sa sœur Eleanor Meredith. Ensemble, elles réalisent de nombreux projets. Cest elle qui a notamment créé les couvertures © Gem Harris des trois albums Varmints, Anno et FIBS distribués par Moshi Moshi. « Nous travaillons super bien ensemble. ____ Née en 1978, à Tufnell Park, quartier du Nord de Londres, Anna Meredith est présente sur tous les onts de la scène musicale. Décrite par le magazine musical Pitchfork comme étant « lun des esprits les plus innovants de la musique britan- nique », sa musique qualiée « dinclassable » mêle instruments électroniques et acoustiques. De formation classique, elle compose pour des grands événements tels que les BBC Proms, la télévi- sion, le cinéma, des campagnes publicitaires et des installations publiques. Sa première musique de lm est réalisée pour une des scènes du lm Dheepan de Jacques Audiard qui a reçu la Palme dor en 2015. Plus récemment, elle compose la musique du lm Eighth Grade (2018) réalisé par lAméricain Bo Burnham. Elle se produit avec diérents orchestres sur la scène internationale et part équemment en tournée avec son groupe de musiciens avec lesquels elle a déjà sorti deux albums.
Load more

Recommended publications
  • Images of Violence in Complicite Obrazy Przemocy W Complicite
    Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 .
    [Show full text]
  • Press Release
    PRESS RELEASE GOOD NATURE – a celebration of our planet, its beauty and its fragility and the essential part we all play in preserving it. 30 emerging and eminent artists were invited to make a new work in response to the theme. The work explores the themes of nature, our planet and the environment today. 16 September to 28 October 2017 Tuesday- Saturday 10am – 5pm CANDIDA STEVENS GALLERY Chichester West Sussex PO19 1BA Top left and clockwise: Alice Kettle, David Nash RA OBE, Michael Benson, Eileen Cooper RA OBE, Nicola Green GOOD NATURE celebrates the natural world through the observations of some of the leading artists working in the UK today who awaken our senses to the abundant beauty of our planet. They take inspiration from the warmth of the sun, the green lungs of the forests and the dark depths of the oceans, alongside all life that teems in and under them. We are reminded of the changing and fragile state of Earth and are invited to reflect on how it is necessary for all these elements to interconnect in order to exist. Highly acclaimed, environmental sculptor David Nash RA OBE shows a work created from a Holly tree, charred in his distinctive style, with an associated print. Eileen Cooper RA OBE, and this year’s curator of the RA Summer Show, includes a painting inspired by the domestic use of nature. Stephen Farthing RA makes a new print about the escapism PRESS RELEASE nature provides. Returning from highly successful exhibitions at Venice Biennale, Stephen Chambers RA takes a humorous look at manmade versus nature whilst Nicola Green makes a series of silkscreen prints in response to deforestation.
    [Show full text]
  • E Ileen C Oop Er: P Ersonal S P
    Eileen Cooper: Personal Space 3–5 Swallow Street London W1B 4DE 020 7434 4319 huxleyparlour.com Cover image: Sisters, 2019 Eileen Cooper: Personal Space Introduction I am very pleased to introduce our first catalogue of paintings by Eileen Cooper RA, which contains a completely new body of work produced especially for our first exhibition together. It is a remarkable group of pictures that nods to her earliest years as a painter, while also continuing to develop the themes of identity and womanhood that she has explored throughout her career. The exhibition’s particular theme of reflective, personal space is one that seems entirely appropriate to Cooper, whose studio itself is a domestic one, set in a light filled room above the convivial family kitchen in her Brockley home. Here in this high ceilinged, paint splattered sanctuary Cooper quietly makes her pictures, bathed in the rays that flood through the tall sash windows. For many years Cooper worked alone there with her imagination, but more recently she has re-welcomed models – which has given birth to a more immediate intimacy. As one of the country’s most influential female Royal Academicians, Cooper has been a force in the British art world for many years, most recently as a much-loved Keeper of the Royal Academy Schools. In seeking models for the previous project to ours, Cooper found herself welcoming a long queue of former students and their artistic brethren, which is testimony to the esteem and friendship in which she is held. Like them, I have adored getting to know and being around Cooper, whose warmth, and energetic approach to her life and work makes for an intoxicating environment.
    [Show full text]
  • Annual Report 2019/2020 Contents II President’S Foreword
    Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic.
    [Show full text]
  • Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
    REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children.
    [Show full text]
  • Programme for Cheek by Jowl's Production of the Changeling
    What does a cheek suggest – and what a jowl? When the rough is close to the smooth, the harsh to the gentle, the provocative to the welcoming, this company’s very special flavour appears. Over the years, Declan and Nick have opened up bold and innovative ways of work and of working in Britain and across the world. They have proved again and again Working on A Family Affair in 1988 that theatre begins and ends with opposites that seem Nick Ormerod Declan Donnellan irreconcilable until they march Nick Ormerod is joint Artistic Director of Cheek by Jowl. Declan Donnellan is joint Artistic Director of Cheek by Jowl. cheek by jowl, side by side. He trained at Wimbledon School of Art and has designed all but one of Cheek by As Associate Director of the National Theatre, his productions include Fuente Ovejuna Peter Brook Jowl’s productions. Design work in Russia includes; The Winter’s Tale (Maly Theatre by Lope de Vega, Sweeney Todd by Stephen Sondheim, The Mandate by Nikolai Erdman, of St Petersburg), Boris Godunov, Twelfth Night and Three Sisters (with Cheek by Jowl’s and both parts of Angels in America by Tony Kushner. For the Royal Shakespeare Company sister company in Moscow formed by the Russian Theatre Confederation). In 2003 he has directed The School for Scandal, King Lear (as the first director of the RSC Academy) he designed his first ballet, Romeo and Juliet, for the Bolshoi Ballet, Moscow. and Great Expectations. He has directed Le Cid by Corneille in French, for the Avignon Festival, Falstaff by Verdi for the Salzburg Festival and Romeo and Juliet for the Bolshoi He has designed Falstaff (Salzburg Festival), The Rise and Fall of the City of Mahagonny Ballet, Moscow, becoming the first stage director to work with the Bolshoi Ballet since 1938.
    [Show full text]
  • The Art of Cultural Exchange Translation and Transformation Between the UK and Brazil
    The Art of Cultural Exchange Translation and Transformation between the UK and Brazil Edited by Paul Heritage Queen Mary University of London, UK Ilana Strozenberg Federal University of Rio de Janeiro (UFRJ), Brazil Curating and Interpreting Culture a project by in partnership with Funded by People’s Palace Projects is funded by Copyright © 2019 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Curating and Interpreting Culture Library of Congress Control Number: 2018967188 ISBN: 978-1-62273-438-2 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Authors in alphabetical order vii Foreword xiii Graham Sheffield Preface xv Martin Dowle Introduction xvii Paul Heritage Part 1.
    [Show full text]
  • THEATRE in ENGLAND 2012-13 UNIVERSITY of ROCHESTER Mara Ahmed
    THEATRE IN ENGLAND 2012-13 UNIVERSITY OF ROCHESTER Mara Ahmed The Master and Margarita Barbican Theatre 12/28/12 Based on Mikhail Bulgakov’s novel, this adaptation by Simon McBurney is as inventive and surprising as the book’s storyline. Satan disguised as Professor Woland visits Stalinist Russia in the 1930s. He and his violent retinue use their black magic and death prophesies to dispose of people and take over their apartments; most villainy and betrayal in the play is in fact motivated by the acquisition of apartment space. Bulgakov is satirizing the restriction of private space in Stalin’s Russia but buildings are also a metaphor for the structure of society as a whole. Rooms are demarcated by light beams, in the constantly changing set design, in order to emphasize relative boundaries and limits. The second part of the play focuses on Margarita and her lover, a writer who has just finished a novel about the complex relationship between Pontius Pilate (the Roman procurator of Judaea) and Yeshua ha-Nostri (Jesus, a wandering philosopher). Margarita calls him the Master on account of his brilliant literary chef d’oeuvre. She is devoted to him. However, the Master’s novel is ridiculed by the Soviet literati and after being denounced by a neighbor, he is taken into custody and ends up at a lunatic asylum. The parallels between his persecution and that of his principal character, Jesus, are brought into relief by constant shifts in time and place, between Moscow and Jerusalem. Margarita makes a bargain with Satan on the night of his Spring Ball, which she agrees to host, and succeeds in saving the Master.
    [Show full text]
  • Eileen Cooper: Personal Space
    3-5 Swallow Street, London, W1B 4DE / [email protected] Eileen Cooper: Personal Space 17 October - 16 November 2019 Huxley-Parlour Gallery, London will be exhibiting a group of 15 new paintings by Eileen Cooper RA that fuse objective drawing from life, a new part of her practice, with the instantly recognisable, passionate and imaginative works she is known for. Ruby Red, 2019 Entitled Personal Space, the focus of the exhibition is on the female figure in nurturing and intimate spaces, explored with confidence, sensitivity and awareness. Through these images, Cooper revisits and expands on themes that she has explored throughout her forty-year career, those of universal female experience, primarily fertility, sexuality and motherhood. In this latest body of work, Cooper has also incorporated images celebrating friendship, sisterhood and sense of self. Many of the images show female figures in private spaces, engaged in intimate and sometimes simple acts, including brushing or washing hair or applying make up. Cooper’s protagonists are confident, gazing stridently out at the viewer or at their own figures in the many mirrors that populate this body of work. Although not strictly representational, this latest body of work comes after an intensive year of drawing from life, a marked change in the artist’s process, after a lifetime of working directly from imagination. Cooper has skilfully blended this new part of her practise with her characteristic use of graphic, decisive line, flattened space and bold colour palette. The resulting imagery explores the powerful tension created between the universal and the particular, and of the real and the imagined.
    [Show full text]
  • The Encounter
    THE ENCOUNTER UNITED KINGDOM COMPLICITE / SIMON MCBURNEY INSPIRED BY THE BOOK AMAZON BEAMING BY PETRU POPESCU DIRECTED BY SIMON MCBURNEY PHOTOGRAPH: TONI WILKINSON FREE PROGRAMME WWW.AAF.CO.NZ / #AKLFEST FACEBOOK.COM/AKLFESTIVAL @AKLFESTIVAL @AKLFESTIVAL THE ENCOUNTER COMPLICITE/SIMON MCBURNEY ASB THEATRE, AOTEA CENTRE WEDNESDAY 15 - FRIDAY 17 MARCH 7.30PM SATURDAY 18 MARCH 1.30PM & 7.30PM SUNDAY 19 MARCH 2.30PM 1 HOUR 50 MINUTES NO INTERVAL POST SHOW TALK: THURSDAY 16 MARCH TOUCH TOUR: SUNDAY 19 MARCH, 1.00PM NAU MAI HAERE MAI KI TE AHUREI TOI O TĀMAKI MAKAURAU Welcome to the 2017 Auckland Arts Festival Great artists cause controversy, start revolutions and little by little change the world. Festivals like ours are a catalyst for change creating opportunities for artists to communicate with audiences and audiences to respond to artists’ work. Throughout the Festival you will find small threads that deal with our world today. We hope that the work in the Festival can make you think, laugh, scream a little and perhaps even cry. It is fantastic to have Complicite at our Festival. I have been trying to get them to New Zealand for almost 20 years – success at last – for my final festival. The Encounter is an extraordinary show. I have seen it three times and each time it blows me away. This is real theatre magic where storytelling and technology come together to talk about our world and what matters. Welcome to The Encounter and to the members of Complicite. The Festival’s CEO David Inns (my partner and collaborator of many years), our Board and staff, hope you have a fabulous Festival.
    [Show full text]
  • Performance Cinema
    apr 18 now now soon always The Complicité’s acclaimed production is based on the life-changing experience of impact a photographer lost in the rainforest. The different reactions it provoked around the world reveal the power of its messages, says co-director of The Kirsty Housley. Encounter Complicté’s Simon McBurney interacts with the binaural head, affectionately known as ‘Fritz’. © Robbie Jack 1 barbican.org.uk now soon always Since it was first performed at the Barbican in to put headphones on people: it’s a real 2016, Complicité’s The Encounter has travelled contradiction because it’s a collective the world. From Broadway to Berlin, it’s met experience, but it’s also an individual one.’ people of different cultures and backgrounds What is Yet no matter where it’s been performed, one and provoked some interesting responses in thing comes through clearly, says Housley: those who’ve seen it. ‘Most audiences have more in common than For this is no ordinary production. they have differences, which is really what the show is about.’ binaural It is the story of National Geographic photographer Loren McIntyre, who in 1969 Directing the work had a significant impact on found himself lost among the people of the Housley, she admits. remote Javari Valley in Brazil. It was an ‘It’s something that was already in me, but as a encounter that was to change his life. sound? result of the show, I’ve tried even harder to adapt my lifestyle to be as ecologically sound as possible. I try to be conscious of what I Binaural recordings People in different countries consume and how I consume it.
    [Show full text]
  • Eileen Cooper Showing Off Eileen Cooper Showing Off 2011 Working with Eileen Cooper Over a Combined Period of Twenty Three Years Has Been an Adventure
    Eileen Cooper Showing Off Eileen Cooper Showing Off 2011 Working with Eileen Cooper over a combined period of twenty three years has been an adventure. Above all, it has been a pleasurable and rewarding experience, marked by firm friendship, and based on mutual professional trust and respect. During that time, London has become a global art world hub and the number of contemporary art galleries today is more than double that in 1988, when Cooper had her first exhibition at the Benjamin Rhodes Gallery in New Burlington Place. She has been represented by Art First since 1997 and we are very pleased to present her first solo exhibition in the new Art First space in Fitzrovia, at the moment when she takes up her post as Keeper of the Royal Academy. This is a notable appointment in its own right, but it is also an historical break-through because Cooper is the first woman Officer ever to be elected since Sir Joshua Reynolds founded the Academy in 1768. We would like to congratulate Eileen Cooper on her achievement, and to thank her for the many introductions to young graduates whom she has taught, as well as other artists we have been delighted to work with. Cooper has been generous towards her peers over the decades and strongly supportive of those starting out in their careers. In this spirit she brings to the Keepership an exciting fresh focus, and we both look forward to the years to come. Clare Cooper and Benjamin Rhodes Directors, Art First September 2011 The Idealist 2011, pencil on paper, 70.5 x 50 cm Jeanette Winterson was the Speaker at the This brooding business and the hinted horrors of numbness and indifference.
    [Show full text]