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M A L IN A R N E L L INAR SEM CH AR 7,3% PE SE 6 RFORMATIVE RE M AY 1 0 – 1 2 , 2 0 1 4 W ELD , STOCKHOLM e research sem ormativ inar – Malin 67,3% perf Arnell S ATURDAY MAY 10 SUNDAY MAY 11 12:00 – 18:00 11:30 – 12:00 PERFORMANCE DOCUMENTATION COFFEE AND TEA 12:00 – 12:15 O Malin Arnell shares and reactivates collab- SYNOPSIS BY MALIN ARNELL V orations, actions and works 2010 – present. AND ANNA KOCH ER Following an open score, and in response T to the ebb and flow of participants in the 12:15 – 13:45 H room, the works activate different forms ‘MATT UND SCHLAPP WIE Schnee’, E audience engagement. You are invited to A CRITICAL RE-READING OF AN C join for the six-hours or to come and go AVANT-GARDE PERFORMANCE WORK O throughout the afternoon. BY GINA PANE. PRESENTATION WITH OF U STEFANIE SEIBOLD AND TERESA TH R MARIA DIAZ NERIO R S 20:00 – 21:15 EE E AFTER, REHEARSAL AFTER. D LECTURE PERFORMANCE The Gina Pane project Matt und Schapp AY BY MALIN ARNELL wie Schnee (2011), was initiated by Stefanie S Seibold who invited performance artist Teresa María Díaz Nerio as well as the art historian artist Malin Arnell will enact a performative In After, Rehearsal After (2013), Malin and critic Patricia Grzonka to collaborate at research seminar at Weld in Stockholm. Arnell presents her ongoing dialogue with different stages. They come together today to The seminar encompasses a number of the work of French-Italian artist Gina Pane discuss the work, which was part of a larger public actions, screenings and discussions (1939 – 1990). Oriented around textual and research project about the problematic of that directly engage her ongoing artistic visual representations of Pane’s and Arnell’s artistic research called Troubling Research. research, which is generated through live inter-historical exchange, the work explores Performing Knowledge in the Arts, which was events. Specifically, the title 67,3% per- performance art documentation and his- funded by the Viennese Fund for Sciences formative research seminar points to the torical narratives. Film documentation of WWTF and hosted by the Academy of Fine moment that this seminar occupies within Pane’s 1975 action, Discours mou et mat at Arts in Vienna from 2009 – 2011. the arc of her research, which currently de Appel Art Centre in Amsterdam, will be takes place within the framework of a PhD screened alongside video documentation in Choreography at University of Dance and of Arnell’s 2011 reenactment, Reflect Soft 13:45 – 15:00 Circus / Stockholm University of the Arts. Matte Discourse, performed in Stockholm at LUNCH BREAK Kamarad. Included in, After, Rehearsal After, Arnell understands 67,3% performative is a letter written by Clara López Menéndez, 15:00 – 16:00 research seminar as a methodology of recounting her experience during the REFLECTING REFLECT SOFT MATTE entanglements in which each participant reenactment as “the naked body” listed in DISCOURSE. PRESENTATION WITH comes to exist within the research, and Pane’s performance instructions. This text MALIN ARNELL, CLARA LÓPEZ in which the movement across reenact- was included in the previous iterations of MENÉNDEZ AND ULRIKA GOMM ments, presentations and conversations the action, Rehearsal after Reflect Soft Matte generates the choreographic. Discourse #1 (2011) and #2 (2012). Following the lecture performance, After, Please find within a detailed program of After, Rehearsal After, interrogates feminist Rehearsal After (2013), the investigation of events, outlining the actions, activities and performance archives. It asks: “How do feminist performance archives continues discussions that will take place during 67,3% feminist performance archives make you with Malin Arnell, Clara López Menéndez performative research seminar, which are vulnerable, how do they make you feel, act, and Ulrika Gomm who will present their all open to the public. react?” “Whose bodies remain present, and experience of and discuss their participation which bodies are lost?” The framework of the in, Reflect Soft Matte Discourse (2011). As a part of 67,3% performative research piece – its repetition with variations – pres- seminar, Malin Arnell has created THE ents an ongoing process in which the history, READER, a compilation of key texts that she documentation and body epistemology are 16:30 – 18:30 has written, performed and/or published as explored through the activation of artistic RE-ACTIVATION OR HOW DO YOU part of her artistic research. Please refer to and feminist methodologies. RESEARCH PERFORMANCE ART? THE READER for additional materials. DIALOGUE WITH STEFANIE SEIBOLD, 21:30 – 23:00 TERESA MARIA DIAZ NERIO, MALIN PARTY AND CONCERT WITH KOEFF ARNELL, CLARA LÓPEZ MENÉNDEZ AND ULRIKA GOMM You are invited to an intimate party, kicked off by power electronic / noise musician Re-activation or How do you research KOEFF. Vilda Kvist will be playing records in Performance Art? is a meeting between two homage to Malin Arnell. projects that engaged in a reenactment of Pane’s performance Discours mou et mat, (1975). The participants join together for a dialogue about their political motivations and choices as well as an investigation of live art, photography and Embodied 2 HEDULE PROGRAM SC E Knowledge. Each reenactment is a study This READER includes brief descrip- TH READ of Pane’s work, based on an intimacy of tions of many of Malin Arnell’s ER touch and direct lived experience. These collaborations, actions and works reenactments formulate an ethics of artistic from 2010 – present. These are part research, collapsing the distance between of her artistic research and exist the artist and their subject of study within within the framework of her PhD in the field of performance art. Choreography at University of Dance and Circus / Stockholm University of the Arts. These works will be put into MONDAY MAY 12 practice throughout Saturday’s program of 67,3% performative research seminar. 10:00 – 10:30 COFFEE AND TEA After, Rehearsal After (2013) . 9 10:30 – 13:00 THE ONCOMING CORNER #14 Mo(WE)ments of labor (2014) . 10 WITH KATHERINE BREWER BALL Slow dancing with two fans (2014) . 12 The Oncoming Corner is a series of monthly gatherings that take place in Malin Arnell’s I am not quite sure. This is loft in Brooklyn NY. It’s a space to share an arduous terrain (2013) . 13 our makings, for communizing and to think together as feminists about what these terms Its quarter to ten. This is really can mean and how we can make use of their potential. During The Oncoming Corner happening (2013) . 14 #14 Katherine Brewer Ball will present her formal opposition of the work of Malin Arnell Sometimes Sometimes Sometimes (2013) . 15 and engage participants in a critical review. Drawn from a feminist model of speaking in ‘rounds’, The Oncoming Corner activates Possession Principle, various discursive methodologies, making Flames of Protection (2012) . 16 this an important participatory event. Something is missing (2012) . 17 13:00 – 14:15 HOSTED LUNCH Rehearsal after Reflect Soft Matte Discourse #1 (2011) and Rehearsal after Reflect Soft Matte Discourse #2 (2012) . 18 14:15 – 16:30 HOW CAN WE EVALUATE LIVE EVENTS AS A DISSERTATION OR Walking to the mic, the other falling DISSERTATION AS A LIVE EVENT? off her chair (2011) . .19 DISCUSSION WITH MALIN ARNELL, KATHERINE BREWER BALL, CAMILLA Untitled (Just Because Everything Is Different DAMKJAER, HANNA HALLGREN, Does Not Mean Anything Has Changed) (2011) . 20 LENA HAMMERGREN, ANNA KOCH, EFVA LILJA, TERESA MARIA DIAZ Coming to an end / Opening up for a new circle (2011) . 21 NERIO, STEFANIE SEIBOLD I find myself at the moment in a white void, Together, the participants investigate the waiting for the next moment (2011) . 22 proposal that a live event can hold the intro- duction, literary review, methodology and analysis of a dissertation. They will discuss Sporing Lips of Transposed Desire (2011) . 23 the scope of artistic dissertations within the field of choreography and feminist studies, Reflect Soft Matte Discourse (2011) . 24 which may necessitate a re-evaluation of tra- ditional academic criteria in order to activate The Oncoming Corner (2012 – ongoing) . 26 and take into account the materiality and methods of artistic practice. Arnell activates the event’s concluding discussion to explore YES! Association / Föreningen JA! (2005 – ongoing) Including: the role of documentation and dialogue with- in performative practice, in preparation for Zyklische Gesellschaftsreise (2013) . 27 the culmination of her PhD. SMOKING AREA (2012) . 28 We Will Open a New Front – lecture by Lee H. Jones (2010) . 30 I want a president…(2010 – ongoing) . 31 3 e research sem ormativ inar – Malin 67,3% perf Arnell She says: Remember, there has never been any pure perception. She says: Because accuracy is different from the truth She says: In the beginning there is an end. She says: I agree that aggression is a part of life and therefore also part of politics. She says: THE POINT FROM WHICH WE SEE, AS A POINT THAT IS NOT SEEN. SHE She says: The body's overall shape is only given as something external. S* She says: Language is not the result of an identity. AY S She says: The aspiration to dominate the room is contradictory. She says: You affect me. She says: Someone will have survived. She says: WITHOUT KNOWING IT, I AM CONSEQUENTLY OPPOSED, ALWAYS CONCERNED WITH COLLECTIVE FORMS OF IDENTIFICATION. SHOWING THAT EVERY CONSENSUS IS BASED ON ACTS OF EXCLUSION, A ‘CONSTITUTIVE OUTSIDE’. She says: Struggles create the language in which a new order expresses itself. She says: LIKENESS IS AN EFFECT OF PROXIMITY OR CONTACT. LIKENESS IS AN EFFECT OF THE PROXIMITY OF SHARED RESISTANCE.

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