In fact ICA’s lack of interest in Live ICA is perceived by many on the Introduction Art over the last several years has international scene as a model been manifest and despite earlier contemporary arts space. Live Art “If the ICA has a single, overriding Filling a gap, and always willing eras of commitment to the form - with all of its hybrid tendencies, raison d’être, it is the responsibility to lend a hand when major arts - with programming in theatre its blurring of boundaries, its fun, to express who we are and how we organisations fail to do their and gallery spaces, commissions, vitality, energy and relevance really live right now, through art, culture jobs properly, we are delighted discussion events and platforms should be there with the full weight and ideas, to weigh up constantly to announce the re-opening of - they’ve long since ceased to be and resources of the institution. shifting moods and movements in the ICA Live Art Department considered as much of a player in art and society in an attempt to in the form of True Riches, an the Live Art area. How the closing * articulate the tenor of the times. independent curatorial project with of the Live Arts Department would contributions and participation of improve this situation seems at The project True Riches – a season In 2009 we will be unveiling an international group of artists, best pretty hard to explain. which runs from now until the a series of ambitious events curators and thinkers working in end of 2009 at the ICA - arises including new seasons of multi- and around Live Art. There are those who believe that from our invitations to around 25 art form activity that will take Live Art in London/UK can do individuals to make proposals for over and transform the whole of * well enough without the ICA - works, seasons and themed and the ICA building. At a time when concentrating their efforts on other un-themed programmes. It gathers biennales and art fairs frequently ICA’s Live Arts and Media spaces, different communities, materials which stem from a dominate the cultural calendar, Department was closed by Ekow and creating different relations to variety of approaches, tendencies, it’s important for the ICA to Eshun, (Director, Institute of the institutional practice of arts. and impulses in the live art sector occasionally work in a similar Contemporary Arts, London) We do have plenty of passion and – from the satirical critical to spirit and reconfigure itself as a in October 2008 with an support for these kinds of practices the archival, from the comical somtime festival, a freeform space accompanying email statement in and positions. At the end of the subversive to the theoretical of artistic exploration, a place which he remarked that the area day though, we also think that in investigative. We even have a where debate and experimentation of practice lacked the ‘depth and a city as big, culturally rich and buffet of zero gravity food. are central.” cultural urgency’ necessary to varied in its makeup and history as command the continued resources London is, it is important that an The ICA Live Art Department, even Ekow Eshun, artistic director, and focus of the institution, arts centre like the ICA should give though it does not exist, is alive from ICA programme arguing that in any case ICA’s adequate space to this important and well and glad of your support. December 2008’ commitment to live practice would area of contemporary practice. We would like to extend our thanks continue to happen ‘naturally’ The ICA in London, positioned to the many artists and curators through the programming at the city’s geographical centre who have joined us to make the initiatives of the remaining and as its experimental vanguard, varied proposals, statements and departments. should embrace and champion the programmes that comprise True possibilities of Live Art to speak Riches. We hope that you’ll join us We sincerely doubt that such a to the contemporary situation and for these and other events. scenario would work out well for to address publics in the most ICA’s profile of and commitment to extraordinary, thought-provoking Live Art. and challenging ways. Tim Etchells / Ant Hampton GERALDINE PILGRIM This installation symbolises the flood of ideas that have filled this Black Box black box space over the years. The ICA theatre space was a ONGOING FROM FEBRUARY 4 magnificent neutral empty space I will flood the ICA Theatre with created to be filled with other water by creating a 1metre 20 people’s imagination. I see this centimetre high black metal tank installation as a celebration, a that follows the exact architecture funeral and a goodbye to all the of the space, delineating every extraordinary work that has been recess and every pillar (apart from performed and created in this the fire exit recess of the mall dock space and not acknowledged. door that is left as audience space). The interior of the tank will be lined with black pond liner. The tank will be filled with water -by the Westminster Fire Department - pumped through hoses that can come in from the mall dock entrance.

The water level will be 1 metre 19 centimetres high. A wind machine in the ceiling will form a ripple effect on the water and the whole installation shall be starkly lit with white light by rows of birdies on a frame suspended over the tank. A thin film of oil would gradually be poured into the tank by a performer covering the surface of the water, and would be set alight by a taper.

The audience can only enter to view the installation by the mall dock doors side entrance and Black Box would stand in the fire exit recess that is not flooded. JOSÉ ANTONIO SÁNCHEZ & a year before he was elected stated, “Jacques Derrida is not travel. Erase borders. Run to the president of South Africa, he dead”. Ana Mendieta is definitely encounter. Fly to the future. Don’t maria RIBOT travelled to Stockholm to collect dead. She was killed in 1984, when let time terrify you. Time flies, MIGRATIONS the Nobel peace prize. Edward she fell from the 34th floor of a time runs away. To play. To invent. Said died before peace came to his building in Greenwich Village. Subvert languages. Disguise your In 1942 Princess Héléne Elizabeth homeland Palestine, which he had She had lived in the United States self to search for the real. Touch Louise Amelie Paula Dolores to abandon with his family in 1948. since her exile from Cuba at the each other. Think of us. Risk your Poniatowska Amor travelled to He travelled to Egypt and later to age of twenty three. William Pope identity. México city in the company of her the US where he published his most still lives in New Jersey; in 2007 The 28th of May 1994 sub- mother Paula, while her father, famous work Orientalism. In 1957 he was invited to Vienna by Tim commandant Marcos wrote: Jean Poniatowska was fighting with Fatima Mernissi travelled from Fez Etchells and spoke for 12 hours “Marcos is gay in San Francisco, the French army, with whose forces in Morocco to Paris and in 1995 wearing a Condoleezza Rice mask. black in South Africa, an Asian in he landed in Normandy shortly published Dreams of Trespass: Juan Loriente was in the audience Europe, a Chicano in San Isidro, afterwards. The Princess published Tales of a Harem Girlhood. Later for the entire performance; an anarchist in Spain, a Palestinian her novel The Train Passes Through she reflected on the influence afterwards, during his return to in Israel, a Mayan Indian in the First under the name of Elena of Chinese legend on the Arab Vega de Pas, he walked for 12 days, streets of San Cristobal, a gang Poniatowska; she presented the imagination and how it manifests while reflecting on humanity. Nao member in Neza, a rocker in the book, dressed as “tehuana” in the itself in the tales of the Arabian Bustamante, dressed as herself, National University, a Jew in company of the actress and activist Nights. Rabih Mroue preferred not flew to Jerusalem in 1995; with Germany, an ombudsman in the Jesusa Rodríguez, in the character to travel and stayed put in Beirut María Ribot she took a pilgrimage Defence Ministry, a communist in of a machinist. Six years earlier with his wife where they asked: to the sacred sites without the post-Cold War era, an artist the two women had turned up in “Who is afraid of representation?”. encountering any of the three without gallery or portfolio.... A front of the Mexican parliament to Certainly not the poet Joan Brossa: Gods. Disappointed, she returned pacifist in Bosnia, a housewife protest against the militarisation of he used to travel from Barcelona to Los Ángeles; María to Madrid alone on Saturday night in any Chiapas. Sub-commander Marcos to Perpignan to visit strip-tease where she asked José Sánchez to neighbourhood in any city in moved into Chiapas on the first cabarets, at that time forbidden write a text which would help her Mexico, a striker in the CTM, a of January 1994. Exactly twelve in Franco’s Spain. The musician to understand what they where reporter writing filler stories for the years afterwards Marcos travelled Carles Santos followed him some doing. He did so, but despite this back pages, a single woman on the the 32 Mexican states during his years later. In September 2007 María moved to London, where she subway at 10pm, a peasant without other campaign. Roberto Bolaño Sonia Gómez flew out of Barcelona performed several times at the ICA. land, an unemployed worker... moved to México in 1966. Seven landing 12 hours later in Shanghai, Some years later, while living in an unhappy student, a dissident years later he returned to Santiago thirty six years before Wong Kar Geneva, she bumped into her old amid free market economics, a de Chile, crossing the whole of Wai arrived at his destination in a friend, Joshua Sofaer, author of a writer without books or readers, Latin America, from north to south, mysterious train. In 1978 Esther blank book, who had travelled to and, of course, a Zapatista in the hitching lifts or using local buses. Ferrer was on The John Cage Train: Switzerland to present his video: mountains of southeast Mexico. He arrived late, but despite this in search of lost silence (1978), What is Live Art? So Marcos is a human being, any was kept under arrest for more heading for Bologna. Afterwards human being, in this world. Marcos than a week. His experiences were she went to Paris. The Egyptian Presence and telepresence. Real is all the exploited, marginalized to inspire the novel 2666. Nelson actress Safaa Fathy arrived there in and imagined journeys. Meeting and oppressed minorities, resisting Mandela was incarcerated for 27 1980 and made the film Derrida’s places. Look into each other eyes and saying, ‘Enough’! years as prisoner 46664. In 1993, Elsewhere (1999). In 2008 she and act. Be a prisoner and yet Desplazamientos La Ribot

Sonia Gómez / Joshua Sofaer: programme by JOSÉ ANTONIO Roberto Bolaño / Wong Kar Wai: Safaa Fathy /Jacques Derrida: The speed of thoughts SÁNCHEZ & La ribot In between ICA2666 and ICA2046 Derrida n’est pas mort and and and DESPLAZAMIENTOS Ana Mendieta / William Pope: Edward Said / Rabih Mroue: Não Bustamante / Nelson Mandela The only place 11 - 15 FEBRUARY Death without protest The war imprinted body Five days of lectures, actions, 12 FEBRUARY: 6:00AM - 6:00PM: ON BOARD THE TRAIN 13 FEBRUARY: 12:00AM: BAR and 6:00PM 14 FEBRUARY: 6:30PM: LECTURE and 8:30PM - ALL NIGHT FROM ST. PANCRAS TO WATERLOO STATION performances and discussions and 8:30PM DEBATE ONLINE Monologue by Safaa Fathy. with artists, writers and politicians Jacques Derrida will remain silent Esther Ferrer/ Fátima Mernissi: who think and work in Live Art. and a Dialogue - Lecture - This is the story of a woman Performance with Edward Said and Elena Poniatovska / Jesusa and Rabih Mroue. Subcomandante Marcos/ Juan Rodríguez: Cómo se nos fue el país Loriente: It shakes violently vagón por vagón 15 FEBRUARY: 8:00PM - 11:00PM AND MIDNIGHT and ONWARDS Carles Santos y Joan Brossa: A Conference - Action, followed Brossalobrossotdebrossat by continuation online from 11 FEBRUARY: 12:00AM - 6:00PM and 8:30PM midnight. The symbiosis between actors and sceneshifters is played like a dance with partial interiors built and dismantled as an actor moves through the space, but this relationship is gradually broken by a series of incidents that lead to a sceneshifter standing-in for an actor who has been incapacitated.

The actors find themselves The Sceneshifters increasingly usurped by these creatures that inhabit the space in the characters’ clothes. The GARY STEVENS imperative for the show to go on is strong in them, but their grasp of the role is often spectacularly The Sceneshifters The sceneshifters have no image absent. They stave off anarchy with of themselves to offend. Yet losses on both sides. the actors do not treat them The sceneshifters look human, with condescension; efforts It is slapstick played as real. but they are not. We are not sure to control them often lead to Bodies are literally swept under about the actors. The sceneshifters exasperation but never outrage. the carpet. The comic aspect is sometimes wander lost and alone The sceneshifters look to one never confirmed and a careful across the stage and at other times another for guidance; there is a balance is sought between the they appear as a teeming horde trace of pack animals about them. attempt to construct poignant tinkering, adjusting, assembling Yet they do not mourn the loss of models of psychological and or stripping the furnishings for one of their number who appears emotional life and the seemingly various interiors. They may hide, accidentally smothered. The actors alien world of the sceneshifters. sleep, play dead or get caught in too are strangely untouched by the The serious handling and careful the middle of a scene and stand prone body with its head buried construction militates against an transfixed. They are managed, between the cushions of a sofa as a easy understanding of the work as indulged and tolerated by the scene is enacted around it. burlesque. actors who treat them as semi- trained domestic animals. ********SPACE FOOD BUFFET DISPLAY******* The Living Archive

Concept by Vivi Tellas Christine Peters individual rules and criteria & Nicolás Goldberg The Living Archive on which their works function Sponsored by NEOX Inc. – whether thematic, geographi- Free Admission. Adults only. Space OVER A PERIOD OF 6 MONTHS AT THE ICA, SPRING 2009 Picnic in Space: food buffet available at venue. cal, spatial and so on, in order to Be your Soul Tickets must be reserved 48 hours The Living Archive is a portrait of question given formats, explore prior to the first performance. a movement which doesn’t come different platforms and displays 14, 21, 28 MARCH: 7:30PM, 7:50PM, 8:10PM, 8:30PM, along as a manifesto but reflects a for discussing culture. Obviously 8:50PM, 9:10PM, 9:30PM, 9:50PM, 10:10PM self-evident, ongoing artistic prac- the exhibition format has been tice: the crisscrossing of the fields questioned throughout the 20th via performative approaches. century, but perhaps performance, Fully developed for ICA’s More and more artists are operat- True Riches performing arts discursive and narrative events programme, this Zero-G chamber ing in crossovers, experimenting have not yet been considered to the will allow the audience to enjoy with different artistic disciplines same extent. This project raises a 20-minute control free Space and, in addition, reflecting on the question of how new display Station picnic. philosophical, political, sociological and communication methods can PICNIC IN SPACE: BE YOUR SOUL or anthropological questions. Each be created for such performative of them by applying different, agendas. The visual arts somehow count Over a period of six months the out is not desirable, unless they Sharon Hayes (USA), Gavin Turk performative approaches among ICA will be transformed into a make concrete proposals of how to (GB), Arto LIndsay & Richard Siegal (USA/F), William Forsythe (D), Seth their realm of signs, naturally and living organism where production fill that gap in a supporting way.) Price (USA), Hayley Newman (GB), self-assuredly, as if they alone were and presentation take place at the The Living Archive will accordingly Jeppe Hein (DK), Julia Meltzer & responsible for its genesis. Theatre same time, shapeshifting, inter- function like a six months resi- David Thorne (USA), Raqs Media and dance have been more sluggish secting, processual and surprising. dency space, where artists profit Collective (IND), Gianni Motti (CH), in their judgement – but they have The underlying thematic key from the given time and input and Oleg Soulimenko (A), Prue Lang (F), been giving more attention to it af- concept of this approach is Slow where a lot of public activity and Jonathan Burrows (GB), Nasrin ter the renewed career of an inter- Production. Slow Production is a exchange will take place. Tabatabai & Babak Afrassiabi (NL), Mike Nelson (GB), Andrea Fra- disciplinary discourse since the counter-concept to that restless- Second precondition: In order ser (USA), Jennifer Lacey (F), Mike beginning of the 1990s - As Brian ness of a project based art making to support a Slow Production Meiré (D), Laura Kurgan (USA), Eno prosaically put it, “Attention and its fatigues, which deals with Cezary Bodzianowski (PL), Markus strategy, to develop and promote creates value.” long term modes of production and Schinwald (A), Christine de Smedt sustainable agendas, ICA has research, seeking to build alter- (B), Mika Taanila (FL), Viviane de fully committed itself - financially, And indeed, there is a lot of valu- native and reliable socio-politi- Muynck (B), Kate Strong (D), Math- infrastructurally and staff-wise. ilde ter Heijne (NL), Eileen Simpson able and innovative work done in cal agendas. The ICA period will The reason for mentioning this & Ben White (GB), Jan Lauwers (B), the interdisciplinary field, which thus be an initial pioneering event second (agreed) precondition is Jérôme Bel (F), Marjetica Potrc (SL), creates potentials the visual arts which constructs a Living ICA+ Ar- that a pioneering approach like this Tim Etchells & Forced Entertain- are still not fully aware of. From chive for future activities - for both, ment (GB), Bruce Mau (CAN), Juneau one implies a revisited valuation of visual diaries to text machines and the artists and for the ICA: Projects (GB), The Yes Men (USA), the priorities concerning all annual narrative marathons - from live art Pawel Althamer (PL), Sven Johne All invited proposals will contain expenses. to sound scapes and architectural (D), Dejan Spasovic (MK), Hans artistic long term strategies and the Schabus (A), Tellervo Kalleinen & interventions, from social choreog- In this sense The Living Archive artists involved are co-responsi- Oliver Kochta-Kalleinen (FL), Vlatka raphies to performatve congresses, will be part of a long term debate ble for the whole event - being the Horvat (HR), Critical Art Ensemble cooking situations and collective on creative capital, time economy, (USA), Dan & Lia Perjovschi (RO), actual hosts - by interacting, co- parades. Art making today has no and substantial valuation. deufert & plischke (D) Olaf Breun- curating, contextualising, analys- disciplinary limits. Its elasticity is ing (CH), Simone Aughterlony (CH), ing, writing, networking, reflecting, The following artists will become its strength. Clegg & Guttmann (USA), Hassan designing, relating to the public, part of the game: Khan (ET), Christian Jankowski (D), cooking... Zhang Huan (USA), School of Missing “You better come on in my kitchen, Los Carpinteros (CU), Airline (CH), Studies (SCG), Emily Roysdon (USA), ‘cause it’s goin’ to be rainin’ out- Stefanie Trojan (D), Dora Garcia (E), Janet Cardiff & Georges Bures Miller One precondition for the selection doors” (Robert Johnson, Refrain Roman Ondak (SL), Tue Greenfort (D), Utopiana (ARM), La Ribot (GB), of the artists to be involved is that in: “Come on in my kitchen”) (DK), Henry VIII’s Wives (GB), Asta Hadley + Maxwell (CAN), Walid Raad they have agreed to invest a maxi- Gröting (D), Lucien Samaha (USA), (USA), Realism Working Group (D), mum time span (a rushing in and saasfee (D), Superflex (S), Claire Fontaine (F), Ultra Red (USA), Egle Budvytyte (LT) 600 playful questions have been This democratic procedure allows authored by the artist, in which for self-governance as the players the trivial is pursued alongside the make their own decisions about political, and subjective knowledge how the rules are enforced or bro- is placed alongside general knowl- ken. Through this, personal knowl- edge, allowing for supposed truths edge and personalities are played to be contested. The dynamic out, as they become more power- which this creates mobilises the ful agents of their own knowledge players personal knowledge by cre- amongst a small setting. Yara El-Sherbini the ICA I bring a game, or A Rather ating a tension which de-stabilises A Rather Trivial Trivial Pursuit. the foundations of our understand- With an emphasis on active knowl- Pursuit ing of knowledge. edge creation, A Rather Trivial 3:00PM EVERY LAST SUNDAY OF THE MONTH, SPRING 2009 Pursuit playfully encourages us to A Rather Trivial Pursuit is a game The artwork finds itself within the think about how we know what we Trivial Pursuit is a family board for 2-24 players, in which a series experience and interaction of the know, by re-activating our relation- game in which progress is de- of questions in 6 categorise, from players. The game will be experi- ship to universal knowledge. The termined by a player’s ability to Art & Culture, Geography & His- enced in a gallery space, not dis- subjectivity of the artist is present answer general knowledge and tory, to Misc. Trivia, are explored similar to a domestic setting, with within the set of questions, which popular culture questions. The aim with the aim of collecting 6 wedges sofas positioned around a coffee ultimately become contestable. The of the game is to win, by attaining of knowledge in an attempt to win table. Players find themselves in following selection of questions wedges in 6 categories. General the game. Re-designed and created a relaxed environment where A illustrate the contemporary British knowledge is arguably a set of by the artist in response to how Rather Trivial Pursuit determines context which the work responds uncontested givens, which frame Trivial Pursuit sits within contem- the nature of their interaction. A to. how we interact within the world, porary popular culture, this re- set of rules accompany the game, made up of facts that may appear creation of the game allows for an which set forth the mode of gov- apolitical and ahistorical. For True easy, comfortable, and accessible ernance around a minor political Riches: A Programme of Live Art at framework due to its familiarity. space. GUIDED TOURS OF THE ICA

Rajni Shah ways in which others might experi- Guided Tours ence the same space. Each tour is of the ICA given by a visually impaired guide THROUGHOUT 2009: ENQUIRE AT RECEPTION who has worked with Rajni over There is no work on the walls of several months to develop their this white space. Instead it is filled own unique tour of the space. with memories and expectations. Guides combine personal stories You will be guided up and down with practical instructions for the staircases, around corners, into audience member. As the guided dark spaces and between crowds tour unfolds, each part of the duo of people in the bar. Your guide becomes in equal part guide and will teach you how to navigate observer, listener and learner, au- these spaces, and will show you dience and expert. what you need to do to stay safe. This new piece probes beyond the In the end, you will learn to trust a surface rhetoric about art audienc- stranger, and will become both the es and accessibility. By reversing guide and the guided. the top-down assumptions which Experience the ICA as never before. typically underlie institutional With no work on the walls, artist outreach programmes, the work Rajni Shah invites you to take a creates an unusually intimate and tour that considers the different ultimately moving experience. things they might not otherwise, of Economics and author of ‘The and mix with people they might not new barbarian manifesto: how to normally meet. Talks are 1 hour survive the information age’. long followed by 30 minutes for Jeffrey M. Bale: questions. Analysis of Academic Response to Chris Ames: Conspiracy Discourse The Fabrication of WMD Evidence THURSDAY APRIL 9: 7:00PM

TUESDAY APRIL 7: 6:00PM Jeffrey M. Bale is research Director Chris Ames is a freelance writer of the Center for Terrorism and In- and investigative journalist who telligence Studies at the Monterey maintains the Iraq Dossier website. Institute of International Studies.

Colin Andrews: David Icke: Crop Circles The Reptilian Bloodlines Conspiracy

TUESDAY APRIL 7: 8:00PM THURSDAY APRIL 9: 9:00PM David Icke is a writer and public The ICA Conspiracy Week Colin Andrews is an author and photographer. He is an acknowl- speaker who has devoted himself edged world expert on Crop Circles since 1990 to researching “who CURATED BY Bill Aitchison and has spent many years lecturing and what is really controlling the This week aims to provide a forum to scientists, government officials world”. He is the author of over 20 ICA Conspiracy that contains divergent voices. Not and public alike on his 25 years books. Week coming with a preconceived idea research findings. APRIL 2009 of where truth and fantasy divide, Michael S Drake: This is a week-long programme it offers an open structure within Nafeez Mosaddeq Ahmed: The ‘Conspiracy Discourse’ across the ICA upon the theme of which visitors may form their own 7/7 London Bombings FRIDAY APRIL 10: 7:00PM conspiracies taking in an exten- impressions. WEDNESDAY APRIL 8: 6:00PM Faculty Member, Department of sive programme of talks, screen- Nafeez Mosaddeq Ahmed is author Social Sciences, University of Hull ings and performances. Given the Talks of ‘The London Bombings: An and author of ‘Discourse Analysis undoubted popularity of the theme, Independent Inquiry’. and the War on Terror’. its political pertinence and at the These form the backbone of the same time the degree to which the week and create a continually shift- Ian Angell: Jenny Randles: UFOs Data Security ‘conspiracy scene’ is full of charla- ing public presence. The speakers FRIDAY APRIL 10: 9:00PM tans, it is more important than ever come from different perspectives WEDNESDAY APRIL 8: 8:00PM Author and former director of that we examine it so as to better and attract different audiences who Ian Angell is professor of informa- investigations with the British UFO discern truth from fantasy. have the chance to hear and see tion systems at the London School Research Association. Journalism and author of One Day Brian Desborough: Gallery in July: Experiencing 7/7. The Death of Diana The talks will all be recorded. SATURDAY APRIL 11: 2PM Martin Jordan: Within the gallery the recordings of Brian Desborough is veteran inves- Electronic Espionage these talks will be presented, each tigative writer, author of ‘Did MI6 SUNDAY APRIL 12: 2:00PM on individual screen, running on a loop. The sound from these will be BILL AITCHISON: 2012 & MI5 Orchestrate Princess Diana’s Martin Jordan, principal adviser of allowed to bleed into the space. As Death?’ and, ‘They Cast No Shad- IT advisory services at KPMG and the week continues this installation ows: A collection of essays on the MI5 consultant on IT security and Performance will grow with each new talk given Illuminati, revisionist history, and industrial espionage. Bill Aitchison suppressed technologies’. until the gallery is filled with the 2012 Daniel Estulin: Bilderberg Club words of every invited speaker. Barrie Penrose: TUESDAY - THURSDAY APRIL 14 - 16: 8PM The plot to overthrow Harold Wilson SUNDAY APRIL 12: 4:00PM 2012 is a performance that plays in 1976 with an army led coup Daniel Estulin is author special- Cinema upon the borders of truth and fic- SATURDAY APRIL 11: 4PM ised in investigating the Bilderberg tion within the fields of art, politics, Film programme including ‘Net Barrie Penrose is investigative Group, the annual invitation-only propaganda and entertainment. Movies’ and mainstream cinema journalist, author, interviewer and conference of the elites in the fields On first appearance a serious lec- depictions of conspiracies. trainer. His books include ‘Con- of business, media and politics. ture, cracks start to appear, cracks spiracy of Silence: the secret life Author of ‘The True Story of the Zeitgeist (2007) which over the hour and quarter of Bilderberg Group’ and ‘The Secrets the show widen and contain within of Anthony Blunt’ and, with Rob- 7/7 Ripple Effect (2007) ert Courtiour, he produced ‘The of the Bilderberg Club’. them an absurd mirror image of Pencourt File’ based on interviews Loose Change (2005/7): reportedly the apparent lecture. 2012 presents Rob Simone: Conspiracy Media screened in Parliament by Michael requested by Harold Wilson. ‘false causalities’; errors in logic SUNDAY APRIL 12: 6:00PM Meacher prevalent in attempts to explain glo- Sharan Newman: Rob Simone is TV and radio pro- Conspiracy X: Government Secrets bal events (“The soldiers are in Iraq Da Vinci Code ducer, presenter of ‘The Headroom’ Revealed (2006) Roswell cover-up because there are Terrorists there”) SATURDAY APRIL 11: 6PM (Resonance FM), included in FATE documentary and in micro human affairs. 2012’s Medieval historian, novelist and magazine’s ‘100 Top Ufologists’. The Yes Men (2003) principal frame of reference is con- author of ‘The Real History Behind Frances Stonor Saunders: spiracy theories spanning the war on Conspiracy Theory (1997) the Da Vince Code’ and ‘Real Congress for Cultural Freedom: the terror, Saddam Husseins’s novels, History Behind the Templars’. CIA’s cultural sponsorship during The Parallax View (1974) the Mayan calendar and the canine 1960/70s Prof. John Tulloch: The Manchurian Candidate (1962) agenda. The performances gives Media Analyst SUNDAY APRIL 12: 8:00PM shape to the experience of unknow-

SATURDAY APRIL 11: 8PM jJournalist and historian, author of ing, to the sense that much of what Head of Lincoln School of ‘The Cultural Cold War’. we believe, may be false. “It (Wunder der Praerie Festival) Does anyone really care? Delving gets more political and insanely into the politics of information, the funny with the premiere of 2012, company - in its singular signature by Briton Bill, which reveals style - conducted extensive inter- the structures of the business of views with subjects ranging from a fear. Very lively and intelligent, policymaker at Homeland Security Aitchison takes terror fear, Olympic on the verge of a nervous breakdown propaganda and weird conspiracy to a plucky extraterrestrial (chan- theories further and unmasks false neled by an equally funny human); causalities in apparent necessities - from every Jessica Lynch in the from Noam Chomsky to Osama Bin phone book (who was willing to Laden”. Theater der Zeit, Berlin talk) to soldiers guarding the New York subway with unloaded weap- “With the best British black humour ons. Turning these interviews into he crossed in his future vision, pop- a mercurial cabaret-play, a versatile ular half knowledge, diffuse fears cast inhabits an eccentric cast of and wild rumours...you had to have characters, all taken from real life. been there.” Rhein-Neckar-Zeitung. “A merrily unserious, vaudevillian romp performed with deadpan The Civilians razzmatazz by a young cast of six, (I Am) Nobody’s (I am) Nobody’s Lunch is a funny, Lunch searching, at times plaintive look at SATURDAY - SUNDAY APRIL 18 - 19: 8PM the dangerous blurring of fact and (I am) Nobody’s Lunch is a dark ride myth in American culture and the through the landscape of American unease that is its natural byprod- public culture. This creation from uct.” New York Times. the Obie-winning company The Civilians asks the thorny questions - how do we know what we know when everyone in power seems to be lying? Is it possible to know what’s really going on in the world when information is manipulated to serve particular interests? the performers create doubles of DAY ONE: movie characters, voices, sounds and images. What happens from a Mette Ingvartsen perceptive point of view when the Why We Love Action “real” characters are fully replaced PERFORMANCE by their anonymous doubles, and when their effects are extracted Concept: Mette Ingvartsen and redoubled? What kind of Performers: Manon Santkin, Kajsa theatricality comes out of such an Sandstrom, Eleanor Bauer, Jefta van Dinther, Mette Ingvartsen, experiment? It’s no longer about Lucia Glass following a logic of cause and effect, Sound design & photography: but rather about effects making up a Peter Lenaerts logic of their own. Light design: Marek Lamprecht In this way, Ingvartsen works Production manager: Kerstin towards touching on a cinematic Schroth sensation within the setting of live performance that doesn’t need the Coproduced by: Hebbel am Ufer whole movie. 1 poor & one 0 (Berlin), Kulturhus (Aarhus), PACT Zollverein (Essen), Uzès Danse, Centre de développement DAY TWO: CURATED BY chorégraphique de l’Uzège, du Gard et du Languedoc-Roussillon Jonathan Beller GORAN SERGEJ PRISTAS aesthetic category. The program and Great Investment. Funded by The Martial Art of Cinematic Modes focuses the cinematic modes of Hauptstadtkulturfonds (Germany). choreography (modes of choreo- Research supported by Kaaitheater Cinema Of Choreography: cinema, cinematic thought and (Brussels), Nadine (Brussels) and LECTURE Theater In Motion (Beijing) A season of practice in dance) presenting a “The Martial Art of Cinema” series of shows, lectures, screenings considers emergent relationships performances, Why We Love Action plays out and talks on the questions of: among visuality, corporeality, screenings and in the green-key studio: a space choreography, digitization and - cinematic modes of representation where scenes are never finalized but theory capitalism in Hong Kong and the in dance always in the process of becoming. Philippines. Cinema is understood Making cinema in the manner of - choreography of attention Experimenting with excessive here as at once a form of social dance and making dance in the - social choreography and cinema expression from a cinematic point programming and a weapon, as well manner of cinema produces the - editing and choreography of view, the performers cry, fight as a symptom of the transformed problematisation of formative - optimization and economy of and kill, search buildings, avoid metaphysics and politics wrought categories of choreography and movement, attention and space explosives, hang from cliffs and by the relentless capitalization performance as metaphors in favour - framing, montage, fragmentation smash their heads against tables of sensuality. These vectors of thinking about choreography - choreographic modes of film for the pure pleasure of effective are discernible as new forms of as cultural, technical, procedural, making experience. Interested in the spatialization, temporality, action, economic and not merely as an physicality of stunt coordination in a broader sense: choreography The culifi is never supposed to throughout the process, and each movement, inscription and affect, for the camera and choreography merx on stage. The performers day, the new material shot was and other experiential moments of the camera. It is a non-cineatic sericum for hours not to nonish superimposed onto the original as yet unnamed. Jonathan Beller and pro-cineatic reality: bodies dicadus, because if they nonish film, so that the final day’s shoot (USA) is Professor of English and in a (cinematic) landscape, dicadus the spectator could botine completed the “erasure” of the philosopher, teaching at Pratt corporal figurations in narrative from the world of alobi to the original. Institute in New York. His research and non-narrative film: body as world of bodenda. Culifis and intersects with visual culture, media a form, figure, or object (body in joeruls are fascinating because they The typical intersection in cinema theory, geopolitics, anti-imperialist the literal sense). It is dance film zipon everything and the lums are between spatial and temporal cultures and struggles, third cinema or film dancing in various types questioned, for this tateso it is a conditions here deviates from a and transformations of the form of of experimental or avantgarde very important tool as it means question of “what” to a question value under contemporary media- film: art film, abstract film, trans the ñus of the image, the limit of “how,” as the production of the capitalism. film, structural or conceptual between alobi and bodenda. The film is transformed from a process film. The author will present two transformation of the zipon into a of simply creating representation into a dramatic process in its own Film Mutations fundamental, but opposed modes space wombed by the imagination of of corporality in experimental film: the spectator and then back to the right. The film, the product of this Film Mutations the choreography of everyday and real sisero; and above all about the process, depicts a spatial hyper- SCREENINGS ceremonial (festive) body (Deleuze) frotipey of the surprise. fiction, as the image passes from one cinematic reality to another, Tanja Vrvilo, film curator from in experimental films by Vlado Kristl and Ivan Martinac. extraterritorial and actual space, Zagreb, will present her research DAY THREE: thus returning it to the general on choreographic thinking in the intellect. It simultaneously field of cinema, based on Croatian Cuqui Jerez International Festival documents a durational social narrative and non-narrative film. screening and workshop performance, the expression of The Real Fiction which is deliberately weak, and PERFORMANCE Swedish collaboration International Her starting points are the functions as an activation outline, Festival (initiated by architect Tor fundamental historical and a protocol for an empowered Concept and direction: Cuqui Jerez Lindstrand and performance-related theoretical determinants of film in understanding of the city. realization in collaboration with artist Mårten Spångberg) took on terms of technology and recording – María Jerez, Amaia Urra und the monumental task of re-shooting International Festival (initiated film as a reflection of scientific and Gilles Gentner the entirety of “On The Town” (98 by Tor Lindstrand and Mårten philosophical spirit of the times, in Performance: María Jerez und minutes), Stanley Donen’s seminal Spångberg) is a long-term which film and philosophy seek to Amaia Urra.Technical director: 1949 dance film featuring Gene collaborative platform between reflect upon movement together. Gilles Gentner She has studied the continuity of Kelly, Frank Sinatra, and others, in architecture and performance, order to produce an inter-textual named “Architects of the Year” movement describing the figure This project is a research into fiction engaging with the spatial and in Sweden for 2007. The work (rather than the figure in a given the trufades of bontinics and social geographies of New York City. of International Festival issues moment) from its prehistory, from oregomatics. The most interesting questions surrounding distribution, chronophotography to the aesthetics tool that we fruteshed is the culifi. While shooting, the original “On accountability, and ownership of attraction: film choreography The culifi means kurce, and the the Town” was running on a loop at in specific social and economic between composition, mise-en- kurce makes the limit between alobi Storefront gallery in New York contexts. scène, deframing, and montage and bodenda very vatifu. Created by an architect (Lindstrand) shot ‘Workers Leaving’ The Lumiere images exhausted in the theatre of Although previous projects – such and a performance-related artist Factory: the factory gates. The first movement. A change of perspective. as Pipelines and knowH2Ow (Spångberg), International moving images ever made show – were based on clearly defined Festival occupies a terrain where workers leaving their workplace. political, social and scientific opportunities to activate and change The movement of the workforce DAY FOUR: content, this show has more of spatio-temporal coordination in a from the place of industrial Ric Allsopp & Bojana CvejiC an artistic-experimental nature. pro-active manner are central. This work into the world of film: the COCOs focuses mainly on the work is embedded in the specificity starting point for the problematic Choreography Of spectator’s experience, on the and singularity of the relations it relationship between cinema and Attention journey your senses take you on produces in collaboration with the the portrayal of work. From its TALK during this evening at the theatre. spectator. outset cinema tended to leave the Theatrical, radiophonic, filmic manual labor out of the picture, Bojana Cvejic (SRB/B) practices and choreographic stimulation are theory in musicology, choreography, BADco. focusing rather on atomized stories fired at you on parallel paths. The 1 poor & one 0 of individual workers once they and performance as writer, spectator decides which stimuli have left their workplace: their performer, dramaturge and are allowed to penetrate: the PERFORMANCE romances, their transgressions, musicologist. She took part visual, auditory or a combination Directors: Tomislav Medak & their destinies in the course of in initiating non-institutional of the two. Breeding, Brains Goran Sergej Pristaš world events. Cinema starts where platforms for performance and and Beauty is conceived as a Authors and performers: Pravdan work ends. Starting from these music theory and practice: TkH choreography transposing a varying Devlahovic, Ivana Ivkovic, initial images, 1 poor & one 0 sets (Walking Theory) Center, PAF and set of parameters from a Hollywood Aleksandra Janeva Imfeld, Ana about exploring the multiple ways CHINCH. melodrama from the 1940s. COCOS Kreitmeyer, Tomislav Medak, of leaving the work behind. What Ric Allsopp (GB) is a co-founder understands choreography as a Goran Sergej Pristaš, Nikolina happens when you get tired? When and joint editor of Performance composition of movement in the Pristaš, Zrinka Uzbinec is the work we devote ourselves to Research Journal and is currently gaps between bodies, encounters Dramaturgy: Ivana Ivkovic exhausted? What comes after work? Reader in Performance Research and relations, between the visible Stage: Slaven Tolj More work? What happens when at Manchester Metropolitan and the audible, the concrete and Costume design: Silvio Vujicic there is no more work? What is the University. the generic, the gestural and the Video: Ana Hušman complicity between the history of formal and abstract, between Light design: Alan Vukelic contemporary dance and the history COCOs cinema, dance and theatre. Music Sound design: Ivan Marušic-Klif of post-industrialization? and words travel back and forth Breeding, Brains between the ears of the spectators Inspired by the work of Auguste 1 poor and one 0 is a twofold and Beauty and the amplified sound in the and Lois Lumiere, Samuel Beckett, performance: while the performers PERFORMANCE space. While receiving sound Vlado Kristl, Jean-Luc Godard and develop the manifold forms of through headphones and watching Harun Farocki. dissolution of the working subject Breeding, Brains and Beauty brings a mute play of gestures, movements Coproducers: Steirischer Herbst, before the audience, the audience is together five performers who have and acts, the spectators experience University of Zagreb - Student slowly drawn into a process of previously worked together in a strange mixture of intimacy and center - Theatre &TD transformation: from the popular various combinations: Jan Ritsema, the distance created by the eye, re- medium of cinema to the political Bojana Cvejic, Mette Ingvartsen, editing a performance of their own In 1 poor & one 0 BADco. returns to theater of populism. Theatre Jefta Van Dinther and Sandra Iché. in their imagination. the scene of the first film ever exhausted in moving images, Now Frauke has spent a month in residency at the ICA, making use of the Brandon rooms for rehearsal and living in one of the three new purpose-built ‘artists’ flats, available for projects such as this.

This has given her the inspiring PEQUENAS DELICIAS opportunity of observing the characters, spaces, staff, hidden politics and dramas of the café and bar to create this fresh version for the ICA. Exciting new developments include a sound system hidden Frauke Requardt within an ICA cake, and a lonely undercover beatnik awaiting an Window Twanky’S Deathbed Pequenas Delicias artists talk. SUNDAY JUNE 21: 4PM Dear frequenters of the ICA bar and café: Enjoy the delights of the ICA bar MOMUS and café as characters come to life Widow Twanky’s As the public files past, Momus We encourage you to spend an and the action unfolds around you. recalls the highlights of his life in a enchanting and unique afternoon In a peculiar twist on traditional Deathbed stream of consciousness sometimes in the company of Requardt’s performances, you can contribute to SATURDAY AND SUNDAY JUNE 27 - 28: 12PM - 2AM coherent, sometimes rambling international cast of performers. the story by selecting a small dance A bed is set up in a niche in a and delusional, and punctuated by piece from a menu: each piece Playful and cheeky, Pequenas corridor of the ICA in which absurd songs. His voice is altered reveals a little more of an intriguing Delicias is a dance experience Momus lies, dressed as the by electronic processing. narrative and gives a fleeting insight infused with Requardt’s signature pantomime character Widow into the stories of the characters dark and surreal humour. Twanky. Members of the public The character recalls Stanley around you. Gradually the piece squeezing past to get from one Baxter and other Scottish Pequenas Delicias was originally works itself up into a crescendo: part of the building to another vaudevillians, and relates to a song devised as a site-specific show for the barman becomes involved, are transformed, as they pass this on Momus’s most recent album: restaurants in Bogota, Columbia, a commotion spills out from the niche, into visitors paying their last click to hear. following a 3 month residency, and gallery and all the inhabitants of the respects to the dying Pantomime but was subsequently reinvented bar are invited to watch the ensuing Dame (traditionally played, of with school children and in new drama as the whole of the bar and course, by a man). guises for Richmond and Woking. café is overtaken by the story. Live don’t live here anymore The Duckie Disease the Centre of Attention DUCKIE performance disco that almost “Live don’t live The Duckie Disease gives us hope, but mainly leaves us JULY DAILY: 9:00PM feeling queasy. here anymore” TICKETS £10 (OR £ 7.50 FOR THE TERMINALLY SICK)

SATURDAY JULY 4: 2PM Produced by Duckie and starring To celebrate the ICA putting the Scottee, Ryan Styles, Dominic final nail in the coffin of their Live At the opening, all the artists, The performance is filmed and Johnson, Othon Mataragas, Art programme, Duckie presents a performers and curators in this shown through the rest of the Empress Stah – turns equally nightclub for anyone who has ever show come together and stand exhibition. found in clubland as the live art felt ill. A 21st century update from outside in front of the ICA. circuit. Choreographer and stylist the frontline of the gay plague, an The Centre of Attention, Russell Harris frames London They all sing: unhealthy dispatch from the weak January 2009 performance art graduates hanging brigade and an homage to all our “You abandoned me from the ceiling and bleeds them thecentreofattention.org mates who have died or just feel dry. Live don’t live here anymore like they are dying inside. Cancer, drug and booze addiction, eating Just a vacancy Hostess and matron Amy Lamé disorders, HIV, depression: among checks everyone’s pulse; record Live don’t live here anymore all this malady London’s new doctors Readers Wifes play rockist generation of Live Art losers tunes that make us forget we were ... etc” and nightclub outsiders create a ever poorly. Let’s drink and dance and sniff (Trans Kabarett-Maxximus), a string of pearls out of her vagina Duckie is one of British Theatre’s poppers while everyone around us collaboration with playful gender- and literally swing from the greatest theatrical treasures’ isis suffering.suffering. terrorist Jonny Woo opened in chandeliers. She earned a Jerwood Lyn Gardner, The Guardian London in July 2008 and he Circus Award in 2003 and her self- With free nightnurse and free recently toured to the Adelaide produced show ‘The Very Best of ‘An extraordinary show. I am health advice, The Duckie Disease Cabaret Festival. Empress Stah’ was a recent smash addicted to Duckie’ isis aa circus,circus, it’sit’s aa livelive artart event,event, it’sit’s a ryanstyles.com hit at the Soho Review Bar and Libby Purves, The Times nightcluba nightclub and and it’s it’s putrid. putrid. the Adelaide Cabaret Festival and DOMINIC JOHNSON is a 28 ‘The most fun you’ll have in a looks great on You Tube. theatre all year – guaranteed’ year old artist, performer, empressstah.com RUSSELL HARRIS is a 24 year old writer, academic and lecturer Andrew Williams, Metro, London choreographer, fashion shop in contemporary performance AMY LAMEE is a south London ‘Bold & Unique… hilarious, manager and dandy. He has at Queen Mary University of gay pub hostess, travel writer, electrifying and disarmingly recently produced a series of London. He cut his teeth working BBC radio broadcaster and minor humane’ stunning coup de theatres in with those bloody celebrated telly celebrity. The American shop windows, basements and international body based artists born chubby funster has hosted Ben Walters, Time Out, London nightclubs. In Duckie circles they Ron Athey and Franko B. He’s a Duckie since it’s inception in 1995. have this young pretender marked bright one – google him to find amylame.com out as the new Pina Bausch. a plethora of writings in journals myspace.com/companyofone and books on art, performance READERS WIFES are the best DJs and contemporary culture. in London’s post gay indie scene. SCOTTEE is a 22 year old dominicjohnson.blogspot.com They wear wigs and make-up and performance artist more commonly like to rock. They have been a seen in the pages of Dazed & OTHON MATAGARAS is a Greek central part of the Duckie collective Confused than on an Arts Council composer, pianist and songwriter. since we formed in 1995. As a Funding Application. This Since graduating from the band they have released an album Renaissance man is a performer, Royal College of Music, he has (Gaslight) and a number of singles DJ, muse and the leading light collaborated with Marc Almond, on iTunes. They have remixed of the post-drag cognoscenti. Bruce LaBruce and a number tracks for Soft Cell and Dead or myspace.com/ukscottee of London based performance Alive and have DJs at loads of practitioners. In 2005 he won the swanky do’s. RYAN STYLES is a Mime Artist. John Halford Prize as a pianist. myspace.com/readerswifes Yes, you heard right: Mime. For othonmataragas.com/home.html this twentysomething, mime is no longer a dirty word. More EMPRESS STAH is a trapeze artist Warning: This event contains influenced by John Walters and neo-burlesque starlet. This NO worthiness, NO pseuds, NO than the David Glass Ensemble, skilled Australian attention seeker baffling inaccessible ‘practice’, he studied clowning at Ecole is a veteran of the Torture Garden NO over-intellectualizing and NO Philippe Gaulier in Paris. His new circuit who can pull 17 (count ‘em!) victim stances. performance clubnight T. K. Maxx duckie.co.uk Dominic Johnson (and that it is doing so at a time Sixty to Nought will look at: * the evolutions in experimental when performance was never more theatre practices that have proved to Lois Keidan popular and urgent is another), * the radical shifts in politically be so influential on radical theatre but Sixty to Nought is not so much invested performances around makers and critical dialogues for Sixty to Nought about the ICA’s responsibility to the questions of cultural identity generations to come. AUGUST 2009 present but to its past – or rather (sexual, gender, racial) and the ways in which they challenged With contributions from and/or Sixty to Nought is a month about the significance of its past to expectations, changed perceptions about Mike Figgis, The People long programme of screenings, the present. and impacted on cultural Show, Impact Theatre, Jan Fabre, presentations and discussions discourses. Lumiere & Son, Hesitate and revisiting and remembering seminal Demonstrate, Station House Opera, performance events at the ICA Picking up the mantle of the With contributions from and/or Forced Entertainment, and others. over its sixty-year history which ICA’s Nought to Sixty anniversary about Neil Bartlett, Robert Pacitti, have marked their times, defined a celebrations, and redressing an Lois Weaver, George Chakravarthi, landscape, influenced generations obvious omission (albeit a year Carolee Schneeman, Karen Finley, to come, and are deemed significant too late), Sixty to Nought is a Bobby Baker, Curious, La Ribot, * the pioneers of art and technology to everyone concerned except, it series of screenings, presentations motiroti, Raimund Hoghe, The and the ways in which artists have seems, the institution that presented and discussions about critical Hittite Empire, David Rousseve, tried, tested and conquered the new them in the first place. performance events with those Guillermo Gomez Pena, David platforms of science and technology. who made them and those they Hoyle, and others. With contributions from and/or influenced. Involving artists, about Laurie Anderson, Stelarc, It didn’t take Ekow Eshun’s producers, writers, and scholars, Blast Theory, Granular Synthesis, unfortunate statement about ‘depth’ the series will look at the ways in * the makings of the new and others. and ‘urgency’ to tell us that the which key performance events and mainstream and the ways in which ICA wasn’t really interested in movements have made a real and the work of key artists coming from lasting difference by influencing the performance anymore, or afforded more experimental performance * the shock and awe of performance practice of artists and the cultural it much cultural value. The absence backgrounds has been assimilated, and the ways in which the work landscape for years to come. of the ICA’s rich performance appropriated and accepted in of artists has radicalised what is history in 2008’s Nought to Sixty more traditional venues and permissible and possible as the anniversary celebrations told us a revolutionised their approaches. subject and object of art. lot about the place of performance in the story of the ICA being written With contributions from and/ With contributions from and/or by its current custodians. But the or about Robert Lepage, Bill T about La Fura Dels Baus, Franko story of performance at the ICA over Jones and Arnie Zane, Theatre De B, Annie Sprinkle, Einstürzende the past sixty years is too important Complicite, Spalding Gray, La La Neubauten, Ron Athey, Orlan, to be airbrushed out of history. That La Human Steps, Eric Bogosian, Penny Arcade, and others. an organisation called the Institute Matthew Bourne, Mark Morris, of Contemporary Arts is turning its Simon Casson and others. back on performance is one issue Content Café: Borrowers Cuisine Foyer: Welcome Enjoy a mouthwatering combination Centre of miniature food. Traditional Borrowers welcoming ceremony and music. NASH ROOM: VISUAL INTERACTION CENTRE Peeping boxes containing exhibition Video and listening posts of painting, sculpture and containing information on BIN and photography. Powerful telescopes Borrowers. on terrace allow observation of

BICA: Binstitute Of Contemporary Art works by bristo, bandy boldsworthy Corridor: Education and others installed in the Mall and Centre St. James Park. BIN (Borrowers International Network) Presents: believe in exclusive possession and Interactive display of Borrowers’ have no concept of money they estimated characteristics. Nash Anteroom have not need for individualistic BICA: Binstitute Of claims of originality or the cult of Examples of cultural artefacts from – Sonic laboratory around the world. Contemporary Art personality and their rich heritage Audio Interactive installation is freely accessible to all members allowing exploration of miniature of their society. The traditions and Borrowers are small people who sonic experiences. resources of the ICA make it an Cinema: Binema live underneath the floorboards ideal venue for a diverse and wide- “borrowing” things from human Festival of classics including the BRANDON ROOM: ONE TO ONE ranging presentation, designed to beings without telling them. They first complete screening of bandy demonstrate this unique aspect of BIN members will provide were first documented in Mary bahols “Crack”. Borrower culture. educational talks and Q & A Norton’s book “ The Borrowers” GALLERY: MUSEUM sessions to individual visitors in a published in 1952. Borrowers After experiencing this event, we are very confined space. International Network (BIN) was Retrospective exhibition of mile sure that you will be inspired by the stone art work and documentation established to prove that they exist, depth and wonder of the Borrowers’ from Borrowers community BOOK SHOP: MERCHANDISING CENTRE protect them from extinction and world. (Please note all art work promote their excellent cultural including the hamster cage that Although Borrowers do not believe and documentation will be replicas Joseph Beuys lived in for two weeks heritage. We also aim to develop of original work, reconstructed by in commerce, BIN needs support. understanding and communication BIN under the strict guidance of THEATRE: CONCERT between Borrowers and humans. our valuable Borrower contacts. It Featuring a full Borrowers orchestra will be necessary to use all available Borrowers have retained a very including binstruments such as the facilities.) distinctive and artistic way of teaspoon guitar, rubber glove organ For further information please visit life, free from the exploitation of Kazuko Hohki, BIN secretary and woodwind section fashioned kazukohohki.com commercialism. As they do not Andy Cox, BIN treasurer from gentlemen’s smoking pipes. See more: The appropriation of an entry mobileacademy-berlin.com could mean a lot of things, eg. the blackmarket-archive.com purchase of a book retold for a public library (see: ghost library), 11 Blackmarkets (in Berlin, the talk between Karin Harrasser Istanbul, Graz, Hamburg, and another Bruno Latour Liverpool, Vienna) have created specialist (see: repolitization), an encyclopaedia, an imaginative re-enactment of Anna Curtis public library of 208 keywords introduction into Burlesque from absence to zombie, listing Dance (see: practical exercise/ 1011 entries. We will infiltrate character building), and exchange this encyclopaedia into London’s between Soumhya Venkatesan epistemology: smuggle or give it and the British Museum (see: away to fields and stores of London transformation) etc., but always knowledge. That means finding in the moment of annexation the partners, corresponding bodies, system of the future owner has to institutions and individuals who become visible in one or the other want to integrate one of the entries way. into their knowledge production, Subject catalogue adapt, archive and use it and at the same time the entry would disappear from the Blackmarket The process of the disappareance encyclopaedia. of one encyclopaedia and its Hannah Herzig emergence in London archives, people’s private collections, Based on the concept of the We will open an office and agency writers’ file-card boxes, papers, The London Trading dialogue experts are invited to at the ICA and establish a trading lists, and performances will take offer a portion of their knowledge, Zone zone for Blackmarket knowledge place over 3 – 9 month, and end that can be told in 30 minutes, BEGINNING AUGUST 1 2009 for public and private use. in a huge performance of everyone the audience has the option to involved and the presentation of The BLACKMARKET for Useful check in with an expert for several the new subject catalogue. Knowledge and Non-Knowledge half-hour talks, or follow the Blackmarket knowledge is right defines itself as an interdisciplinary conversations via headphones. now available in German, English research on learning and un- The installation imitates common and Polish and on different media learning, knowledge and non- places of knowledge transfer like as sound records, transcripts, knowledge. It installs a temporary archives or the reading room in a sometimes only a title but of show and production space, where library and combines these with course the 855 experts are the narrative formats of knowledge communication situations, which main ressource and they can transfer are tried out and are well-known from markets, the be reached, called or invited to presented. stock exchange, counselling or London. service interviews. Subject catalogue

On Silence and Talking: Poland- Ghraib Beyond the Images (BM6) Tested Accident Techniques that Mobile Academy PRESENTS: Germany, 1981–2005 (BM3/ Dr. Carolin Emcke, Author, Allow You to Emerge Uninjured SUBJECT ghostly knowledge) Political Theoretician, Journalist Out of an Accident (BM2) CATALOGUE (Excerpt) Kornel Miglus, filmmaker, based [Berlin] Martin Nachbar, choreographer, in the Polish Institute, Berlin USA: Violations of Human Rights dancer, co-curator of mode05 Blackmarket for Useful Knowledge [Warsaw] in the Fight against Terror. The [Berlin] and Non-Knowledge 2005 - 2008 What is Absent and Invisible on Charge against Donald Rumsfeld ACTIVISM, POLITICAL Stage and How Does It Move Our in Germany Because of Abu Ghraib A Only the powerless question the Imagination (BM4) and Guantánamo, Among Other ABSENCE Things (BM6) definition and application of Prof. Dr. Gerald Siegmund, knowledge (BM2) On the Presence of Absence in Prof. for Theatre Studies at the Wolfgang Kaleck, Attorney, Biblab Basu, historian [Berlin] Contemporary Dance and in University Bern, dance critic, Head of the Republikanischer Performance (BM4) author of “William Forsythe Anwältinnen- und Anwälteverein 1) Export Tyranny: Activism and Dr. Habil. Krassimira Kruschkova, - Denken in Bewegung” and [Berlin] Art on the Eve of War “Abwesenheit. Eine performative Lecturer in Theatre and Dance ACCIDENTS 2) Eat Propaganda, Shit Studies, Director of the Theory Ästhetik des Tanzes” [Bern, Democracy: The Role of American Centre at the Tanzquartier Wien, Frankfurt/M.] How to cartograph your accidents Artists During War (BM2) Editor of “Obscene. Zur Präsenz (BM2) Daniel Belasco Rogers, ABU GHRAIB Tim Blue, performance artist, der Absenz im zeitgenössischen performance-artist, set-designer, activist, musician [Berlin] Tanz, Theatre und Film” [Vienna] A Quite Common Torturer - Abu reckless sleepers, plan b [Berlin] What Globalization and Democracy Paul Bronkhorst, career counsellor, ALCHEMY numerous publications, Don’t Have in Common (BM2) chairman of the International Human remains and traces of e.g. Grundzüge fremder Matthias von Hartz, director Organisation for the Transition presence. A life’s investigation Privatrechtssysteme (1995) [Graz] [Hamburg] of Professional Dancers (IOTPD) of excrement and other forms of [Den Haag] ANIMALS 3 songs about the Carnation human ephemera (BM11) Dance and Age. Generation 50+ in Speculative Approaches to Public Revolution, Portugal April 25, Gina Czarnecki , artist, work Animal Aculptures (BM2) 1974: E Depois do Adeus / Dance (BM4) crosses multiple genres and Grandola, Vila Morena / Tanto Prof. Dr. Claudia Jeschke, Prof. platforms and is developed Nicholas Grindell, translator Mar (BM2) for Dance Studies, dancer, in collaboration with [Berlin] Jose Maria Vieira Mendes, choreographer, reconstructionist biotechnologists, computer Slowness. The Decelerating playwright, translator [Lissabon] [Salzburg] programmers, dancers and sound Creation of a Pet Sloth with What Dancers Do When They Can artists. Her films and installations Text Examples as a Response De-Politicisation Through Political are informed by human to Indiscriminatingly Accepted Art (BM2) No Longer Dance or: How Life Before the Dance Career Influences relationships to image, disease, Acceleration (BM8) Philipp Oswalt, architect, evolution, genetic research, and Life After the Dance Career (BM4) Jaschka Lämmert, actress at the publisher, curator of Shrinking by advanced technologies of image Schauspielhaus Graz, upcoming Cities [Berlin] Maja Langsdorff, journalist, production. [Liverpool] photographer, non-fiction writer, performance as Christine in Ödön AERONAUTICS lecturer for adult education, ALTRUISM von Horvath’s “Zur schönen Aussicht”(premiere October 9) Welcome on board -the system trained dancer [Stuttgart] About the Egoism Involved in [Graz] technology of today’s aircrafts AIDS Helping Others (BM8) (BM2) Christine Anderwald, head ANTS HIV Prevention and the New of Marienambulanz Graz (an Martin Wagner, aviation engineer, Finding the Way Without Eastern European Mobility (BM7) institution with 25 voluntary institute for aerospace technology Markings: Desert Ants’ Compass in Sergiu Grimalschi, street social staff members, provides basic TU Berlin [Berlin] the Heavens (BM4) worker with SUB/WAY Berlin medical care for homeless people, AGE e.V., NFP (National Focal Point) refugees or people with a low Prof. Dr. Bernhard Ronacher, As Far as the Feet Will Carry or: for Aids & Mobility Europe income), Human Rights Award of behavioural scientist and What the Aging Dancer-Body [Klausenburg, Bucharest, Moscow, the regional government of Styria neurobiologist at the Institute Knows in Order to Continue Warsaw, Berlin] 2006 [Graz] for Biology at the Humboldt Dancing (BM4) University [Berlin] ALASKA The Situatedness of Altruistic Acts Dieter Baumann, dancer and by Comparison of Legal Systems - choreographer, part of the artistic The Trip to Alaska. A Political and Europe and America (BM8) head of the Tanzcompanie Rubato Cultural Account of a Journey to [...] Univ.-Prof. Dr. Willibald Posch, [Berlin] Croatia, Bosnia and Serbia, Ten Years After Dayton (BM7) Professor for Comparative and What Could Come After the Dance International Law, currently dean Career and How to Get There Bora Cosic, writer [Zagreb, of the Law School, Civil Law of the See blackmarket-archive.com (BM4) Belgrad, Berlin, Rovinj] University of Graz, author of for complete subject catalogue. Home Live Art at the ICA

Home Live Art The People’s Art Fair at the ICA Exploring the role of viewer and audience member in an arts and performance context, The People’s Home Live Art brings a series Art Fair is a democratization of of interactive, participatory and the processes of making, selling communal art/performance and collecting contemporary art, projects which use all the space at and of viewing and engaging with the ICA. performance and theatre. These projects build on Artists and performers devise performance and live art strategies, collaborative art making activities which directly engage audiences in with the public, covering a range of urgent contemporary issues. disciplines. They can take their ‘collection’ a performance space and a place home or choose to enter the of celebration, creation and work into the People’s Art Show community. exhibition in one of the galleries, the work is then for sale at prices ARTISTS: Bobby Baker, Barby fixed by the maker. Asante, Shane Waltener, Miche Fabre Lewin, Clare Patey, The exhibition is accompanied Martina von Holm, Mem by talks with the artists, critics Morrison, Geraldine Pilgrim, and curators, who reflect on the Oreet Ashery, Ali Zaidi, Jeremy art fair, art market, as well as Deller, Fergus Drenan, Bobby contemporary forms of display and Baker, Rivkrit Tiravanija, exhibition. Jellymongers, Curious, Martino Gamper, Breathe, Lisa Cheung, ARTISTS: Bob & Roberta Smith, Eva Weaver. Barby Asante, Tim Etchells, Richard Dedomenici, Jessica Voorsanger, Franko B, Jeremy The Alternative Deller, Adam Dant, Shane Shopping Mall Waltener, Ali Zaidi, Yara El- Sherbini, Christopher Green, Lois A stall based project in response Weaver, Marcia Farquhar, Lone to contemporary consumerism Twin. exploring market systems - barter, trade, exchange, risk, gamble - and referencing alternative economic Food: Culture: models such as the Transition Community Town movement. Artists interventions and stalls are sited Food: Culture: Community throughout the public spaces at the explores and celebrates food gallery as well as engaging with the culture and connects with the bar and restaurant. art and performance traditions of food and art in the gallery and ARTISTS: The Society of Wonders, art space. The project touches on The Disabled Avant Garde, Yara contemporary social issues such El Sherbini, Josh Knowles, Lottie as the ecology, economics and Leedham, John Jordan, Andrea environmental aspects of food, as Mason, Subject to Change, John well as the cultural, artistic and Jordan, Richard Dedomenici, social aspects of food, cooking Oreet Ashery, Barby Asante, and eating. The gallery becomes a Bob & Roberta Smith, The Fete communal kitchen, a dining room, Encounter. Home Live Art at the ICA Zhana Ivanova a mop and as soon as she has done it, that sequence repeats. A Slow Dance for Z Before too long the entire ground SEPTEMBER 1 2009: 7:00PM floor of the building is filled with GROUND FLOOR OF THE ICA various characters, each involved “Tango” FIlm stills in their own activity and moving “Continuous return keeps in recursive loops. As soon as a everything in an agitated stillness, new person has entered and left The full construction in its F. A man always looking to his which leads nowhere and which the space for the first time, the perpetual motion is something right. raises the question of life’s next one comes in with his own like a virus, which infests the purpose.” repetitious behavior. body of the building, escalates G. A pilot and three stewardesses to its maximum potency, then with rolling suitcases. Klaus Biesenbach “A Slow Dance for Z” culminates disappears gradually, until finally H. A jogger. with one hundred activities of it is as if it never happened. varying size and degree of visibility I. A man with a gramophone. A man enters the foyer of the executed by the same number of “A Slow Dance for Z” is a tribute building, stops, looks to his right, characters at the same time. The to the 1982 animation J. A plumber, carrying a large then leaves via the doors to the sequence of activities develops film “Tango” by Zbigniew pipe. Rybczynski. cinema. Some moments later he from 0% action to 100%, then back K. A gangster with sunglasses enters again, looks to his right and to zero in a consequent manner. In on. leaves again: a perfect repeat. As its progression, as new fragments L. A man with a guitar. he continues to do that, another are added, their juxtaposition with A list of some activities man, appears from the galleries those already in recursion, results M. A man with a beard, who gets – his phone rings, he answers, in a subtle narrative development and characters featured stabbed, bleeds everywhere and says “yes” twice and rushes off up based on their combinations. Some in “A Slow Dance for Z”: dies. the corridor towards the café, only activities are interrelated, forming to come back again and repeat a dependency: one action must be N. A shady gentleman who drags the action. Elsewhere, a Japanese completed, in order for another to A. A man with a wheelbarrow the dead body away. tourist enters from the theatre, take place. full of bricks. stops, takes a photo, and walks O. A Japanese tourist who takes away. Immediately this happens Ultimately a hierarchy of levels B. A woman with a shopping a photo. again, and as it loops, a man with becomes apparent, each level bag. related to at least one other. P. A female cleaner who cleans a beard gets stabbed in the left C. A man with an umbrella. blood with a mop. corner near the defunct media There is no distinction however department, bleeds everywhere between the high and low levels D. A man carrying a large box Q. S&M couple: man crawling and dies. The Japanese tourist within this hierarchy, thus making which he places somewhere. on a dog leash, woman carrying a takes a photo and the dead body is it a “strange loop hierarchy”; whip. E. Another man who takes the dragged away by a shady looking i.e. moving through the levels large box away. R. An elderly lady with a small gentleman. A female cleaner eventually brings one back to one’s white dog. promptly cleans up the blood with starting point. A section of the timeline of events and their structural composition “Tango” FIlm stills

Note: Each character makes an entrance, does his deed, then S. A basketball team. DD. A man in a grey suit who leaves in order to come back picks the paper up and reads it. again and repeat it. T. Two sailors in uniforms. Disappears behind a different door. U. An angry mob. V. A man with a distinguishable striped scarf. W. Another one. X. A pizza delivery guy who arrives in the elevator. Y. A clerk who sits by a desk and stamps a document. Z. A suspicious looking man, who leaves a black briefcase on the ground, looks both ways and walks off. AA. A man, who receives a phone call, answers, says yes twice and rushes off. BB. A man with a pint of beer, who simply wonders in, hangs around for a moment, then leaves. CC. A young secretary who rushes down the stairs carrying a pile of papers, drops them on the ground, then collects them, all except one. Disappears behind a door. STATION HOUSE OPERA idea created at the time by Station of the couple appear, and scenes different mood on the screen House Opera and photographer of harmony and bliss occur – only overall. Beauty and Jan Poloczek, and will be the to be disrupted as an argument Mayhem company’s first video work of breaks out elsewhere in the room. The video scenes are programmed this kind, and an evolution of the using chance operations to assign WEEKENDS OCTOBER 2009: The general tone changes over the likelihoods to which of the possible STARTING SATURDAY MIDDAY (24HRS) increasingly interdisciplinary work day. Later on, there appears to be clips follows. This likelihood Beauty and Mayhem is an intricate of the last ten years in combining a state of warfare between them are affected by feedback from cyclical interactive work, evolved pre-recorded or streamed video – they relentlessly take advantage the viewers, whose recorded from the performance and with live performance. of any opportunity to hit, bite, preferences for more, or less, publicity images created for Station A couple occupy a large, high- leap on or otherwise attack each continuity or disruption is fed House Opera’s classic performance ceilinged room. They are seen up other. They are not certain which into these programmed chance Roadmetal, Sweetbread and to nine times at once, composited of the others might be a threat or operations. The chances are also specially conceived for public into a single image. Their present an opportunity for them. affected by the time of day, for big screen installation. Multiple relationship is seen in a multiple, Thus often one is attacked by a example some of the more extreme versions of a couple occupy the all-at-once kind of way, shifting version of the other they had not comic violence could take place in screen and semi-random sequences spontaneously from harmony to noticed before. The effect is comic the late evening, and at night the of comic actions between these discord and back again as the – the attacks are more slapstick characters try to sleep. couples swing the general mood different versions of the couple than realistic, and the loser of of the piece between harmony and arrive and depart. any conflict survives to break free Beauty and Mayhem brings disorder. Responding to the time and escape. Still later they are all elements of play and surprise into of day and to viewers’ interactions, Each of the versions of the man asleep, lying all over the room. the public realm in a technically Beauty and Mayhem proceeds and the woman feel a slight sophisticated piece. At first through a rarely repeating series uncertainty about the authenticity These short scenes, composited glance viewers may believe of pre-recorded scenes intricate of the other – for the man, which together from green screen filming, that they are watching a linear enough to reward lengthy viewing of the women is real, and for the are composed in real time by a film, (a satisfactory experience but also with an immediate impact, woman, which man? This factor computer which selects the next if viewed and understood this appropriate to the requirements seems to explain the emotions composite clip to play from a way) but through watching for a of a mobile urban audience. It suggested by their actions, and number of options which follow it. longer period most viewers will is shown over 24 hours, on a big the changing combinations of These alternatives each have their understand from the intricate screen. the protagonists give sense to own variable futures, but the total repetitions and interactive the moods of romance, boredom, number of clips is limited, and elements that what they are dancing, separation and isolation the result is in some ways cyclic, watching is more complex. The The project is inspired by which sweep the room. One man but the total number of possible piece is appropriate for repeated publicity material produced for brings in a small table with tea sequences is huge. The room is viewing by a mobile audience, so a the performance Roadmetal, things, but takes it away again occupied by anything from one viewer returning after half an hour Sweetbread when it was first when the only woman in the room to eighteen people. The viewer would find a changed scene, with a performed in the ICA’s Nash Room who notices takes her cup away to may see, after a while, one of the different mood and set of scenes in in 1998 (see image below). Beauty join her friends, her other selves. couples repeating an action, but in action. and Mayhem is an expansion of the Then several more loving versions different company, and with a Station House Opera:

“Beauty and Mayhem

We proceed from the viewpoint Each page of the book will be Rental: of history by which there is no marked by a number of a particular individual memory without month of the independence. 200 tables and chairs collective memory, in every 200 table lamps individual there are traces not only of a personal history but of a history Participants will record: of a community the individual Workmanship: belongs to. * their memories, * names of the people they were in * 600 books with blank sheets of With the Project 13 we want to contact with during their lives, paper and with cover marked by confirm these assertions but at the * relation to all people, and the number 13 (hard cloth same time to turn the view over * about occurrences with the chosen binding, 154 sheets – one for each to a certain extent and to show ones. month of the independence) that we cannot write a history of * 600 ball-point pens with the a community unless it has been inscription 13 written as the history of every * 600 T-shirts with the number 13 particular individual. The making of archives: Janez Janša: The books from this event will be Description of the event: archived in the Archives of the Shopping: Project 13 Republic of Slovenia. The event will be documented by the video record, 600 refreshing drinks The project is dedicated to the At the emptied parking lot in front of the Square of the Republic in photographs, selected pages from 600 snacks thirteenth anniversary of Slovenian the books will be scanned and used independence Ljubljana there will be set 200 tables and chairs, each table for the printed documentation of intended for one person. On a table the project. Logistic expenses: there will be a table lamp, a book marked ‘13’ of an A4 format and a * Rental of the parking lot in front Starting Point: pen. Participants: the Square of the Republic * electrical wiring and connections thirteen-year-olds The Project 13 is dedicated to the During the morning hours (between for the lamps entering of Slovenia the EU and 9.30 and 12.30) the thirteen years the unemployed to the thirteenth anniversary of old children will write down their all citizens the independence, which is being memories of the past thirteen years. supplemental notes may occur on concluded by this entering. About the other occasions Other expenses: this thirteen years there is certainly During the afternoon hours the Repayment of travel expenses a separate history to be written, so unemployed will write down their with the Project 13 we join the idea memories. through a visual-urban-memorial During the evening and night hours event, borne by different groups of the books of memories will be open male and female citizens. for all passers-by. Janez Jansa:

“Project 13” Protecting the ICA from Live Art Stefan Kaegi Protecting the ICA from Live Art

DECEMBER 24 - 31

1 week 24/7 performance for 1 German Shepherd at the ICA. rimini-protokoll.de William Turner commissioned by la escena y de la acción en España: La ribot Biographies Castle Morpeth, Northumberland 1978-2002 (Performing arts in (2008), Enchanted Parks for Spain: 1978-2002, Cuenca, 2005). The Madrid born artist Maria Newcastle Gateshead Initiative Ribot lived and worked in London TIM ETCHELLS (2007),Dreams of a Winter Night In addition, he has written many from 1997 until 2004. Today she at Belsay Hall, Northumberland for articles on aesthetics, literature and lives in Geneva. La Ribot’s work is an artist, writer and performance English Heritage (2007), Sea View contemporary dance and theatre, constitutes a system that allows maker known for his work with for the National Review of Live among them: “The impossible her to research, develop, and the Sheffield-based group Forced Art, Glasgow (2006), Deep End for theatre” (London, 1998), “Eyes in question the temporal, spatial and Entertainment and for his solo Marshall Street Baths, Soho (2005) movement” (London, 2004), “The conceptual limits of dance as it works in visual art, collaborations and Star Dust for De La Warr body and the glance” (Los Angeles, relates to the overlapping fields of in different areas and his fiction. Pavilion, Bexhill on Sea (2005). 2004), “La distincton et l’humour” live art, performance and visual (Paris, 2004); “The discourses art. By presenting her work at timetchells.com & of the body” (Frankfurt, 2004); major international art galleries, forcedentertainment.com JOSÉ ANTONIO SÁNCHEZ “Teatrality and dissidence in the theatres, dance festivals, live art Doctor in Philosophy and Profesor cinema of Joaquin Jordá” (Wien, and performance festivals, La 2007). Ribot consistently employs dance ANT HAMPTON of Performing Arts History and Contemporary Art and Literature at as a challenge to disciplinary He has organised courses, is a performance maker, based in the Faculty of Fine Arts in Cuenca. expectation. Experienced live, a La workshops, performances, London UK, working since 1998 Ribot dance piece creates a paradox seminaries and festivals, among in / as Rotozaza as well as on solo He is the author of the books of exact uncertainty. Brecht y el Expresionismo them, Situaciones (1999, 2001 and projects, collaborations etc. laribot.com (Cuenca, 1992), Dramaturgias de 2002), multidisciplinary festival rotozaza.co.uk & la imagen (Dramaturgy of images, of contemporary arts. Between Gary stevens guessbook.wordpress.com Cuenca, 1994 -3rd ed. 2002), La 1997 and 2001 he colaborated in escena moderna. Antología de the organisation of Desviaciones Gary Stevens is an artist who manifiestos y textos sobre teatro (Madrid) as coordinator of the creates performances and video debates and conference programm, Geraldine pilgrim de la época de vanguardias (The installations, working with a wide modern stage, Madrid, 1999), and the publications and the edition of range of performers. His solo Geraldine Pilgrim creates site- Prácticas de lo real en las escena the web site. & ensemble works have been specific events in unusual buildings contemporánea (Practices of the He currently directs the research presented internationally in where the architecture of the site is real in contemporary scene, Madrid, group ARTEA which works on the gallery, theatre, festival and public used as the narrative. The projects 2007). He has edited the books: construction of a digital archive spaces. He originally studied Fine often involve young people, older Desviaciones (Madrid, 1999), for the performing arts (Spain Art at Goldsmiths College and people and arts and community Cuerpos sobre blanco (Bodies on – Latinamerica) in the University of the Slade School of Art, and his groups working alongside white, Cuenca-Madrid, 2003), Castilla-La Mancha. often complex, choreographed and professional practitioners. Isadora Dunca: El arte de la scripted, live pieces have grown out danza (Isadora Duncan, The art of artescenicas.org Recent projects include Traces of earlier work in installation and dance, Madrid, 2003), Situaciones for the Liverpool Biennial at the film. His live performance works (Situations: a multidisciplinary Bluecoat, The Greenhouses of have been presented as part of the project (Cuenca 2003) and Artes de British Art Show, 1990 and in the Sydney Biennale, 1988. In de Bernarda Alba (2002) at sala nicolas goldberg produced numerous network and 1996 he received an award from Martín Coronado from Teatro San thematic projects and symposiums the Foundation for Contemporary Martín. In 2000, with El precio de Nicolas Goldberg was born in Paris in a European context concerning Performance Arts (New York) and un brazo derecho (a research on in 1978, and reared between New the dialogue between art theory and in 1998 won The Paul Hamlyn the world of work), her perspective York and Buenos Aires. In 2000, practice, such as „Vision Future Award (Visual Arts). His most on theatrical experience began a he attended the International 1-3“, “Plateaux - platform for recent installation pieces are Slow radicalization process that lead Center of Photography in New young emerging arts”, “European Life, and Wake Up and Hide, to Proyecto Archivos (Archives York. Since 2006, he is working Production Centres – Crossing and his production Ape, with co- Project), a series of documentary with Guillermo Faivovich on A Borders in Theatre“, “Portrait”, performers Julian Maynard Smith theater works. Her institutional Guide to Campo del Cielo, piecing „International Summer Academy and Wendy Houstoun, is currently interventions are as relevant as together the history of a 4,000 1-4“ , etc. Since 2004 she works as touring in the UK and USA. her theater direction work. Vivi year old meteortie shower that freelance curator, dramaturge and Tellas founded and directed the occurred in northern Argentina. In lecturer, e.g. for: Festival Tanz & vivi tellas CeT (Centro de Experimentación 2008, he was an artist-in-residence Theater Hannover, 2004, Festival (Buenos Aires, Argentina, 1955) Teatral de la UBA in Centro at the Frankfurter Kunstverein Theater der Welt, Suttgart 2005 is a theater director. Cultural Ricardo Rojas); there she (Germany) and received a grant (e.g. produced and presented artists conceived and coordinated for 6 from the Ministry of Science and such as: Raqs Media Collective / She graduated from Escuela years the Museos Project, where she Technology of Argentina. Goldberg’s New Delhi, Hans Ulrich Obrist / F, Nacional de Bellas Artes Manuel invited a group of theater directors work has been exhibited in solo and Walid Raad /NYC & Beirut, Belgrano and from Escuela to articulate the protocols of theater group exhibitions worldwide, and Asta Gröting / Berlin, Forced Municipal de Arte Dramático, and representation with the exhibition his photographs are in public and Entertainment & Sophie Calle / GB burst into the Buenos Aires mid modes postulated by a series of private collections. / F), Festival Steirischer Herbst, 80’s theater scene with Teatro non artistic museums of Buenos Graz 2006 (here co-curated the Malo (Bad theater), a research Aires. Between 1998 and 2000 christine peters group exhibition “Protections” project where she showed three she was responsible for the Scenic at Kunsthaus Graz. with Adam pieces by Orfeo Andrade, a secret Arts area of the Centro Cultural Christine is a freelance curator. Budak. www.kunsthausgraz.at.) and unstageable playwriter. This Recoleta, where she created the Sala Lives and works in Frankfurt / Is the dramaturge of the research established the direction her work Contemporánea. Main. Studied theatre, english and and production platform “The would take: the exploration of the french literature in Giessen, Dublin Bakery” of American performer and limits of theater both as a praxis Since 2001 she directs the Teatro and Frankfurt/Main. From 1992- choreographer Richard Siegal / and an institution. Tellas related Sarmiento, which has become under 1998 she was Project Director and Paris-Berlin. (Mouson Award 2007 theater to contemporary visual her influence the experimental from 1998-2003 Artistic Director for the Solo-Performance “Stranger/ art (Tribute to Xul Solar, in 1989, space of the Complejo Teatral de at Künstlerhaus Mousonturm, Stranger Report”, Bessie Award at Sao Paolo’s Contemporary Art la Ciudad de Buenos Aires. There Frankfurt/Main, an international 2008 for the Solo-Performance Bienal); staged John Cage at Teatro she created the Biodrama Project, centre for contemporary arts. “AS IF Stranger”). She is Artistic Colón (Europera V, 1995); dug up a series where theater directors Linked to an interdisciplinary Advisor for a research project by Roberto Arlt’s forgotten theatricality mise en scène the life of a real living discourse & research she presented Tanzplan Germany on curatorial at Centro Cultural Rojas’ Library person. a year round programme dedicated issues. Lectures interdisciplinary (Los fracasados del mal, 1992) and archivotellas.com.ar to experimental visual & practice and curatorial approaches together with Guillermo Kuitca performative formats. She initiated, at the theatre, media & film proposed a new version of La casa curated, published, presented and department, University Frankfurt. Yara el-sherbini bill aitchison He has written critical articles frauke requardt for both popular and academic Yara El-Sherbini is a London-based Bill Aitchison is a theatre and publications, taught and mentored Frauke Requardt is a German, artist whose playful and multi- performance artist based in performance. London-based, choreographer. London who works in and between Previously Associate Artist at The disciplinary approach to art making billaitchison.co.uk uses popular culture and humour to performance, writing, collage and Place, Frauke is now Associate explore art and life. sound. His solo performances have Artist at Greenwich Dance Agency. been seen widely in London in goran sergej pristaš Through her own work and in her yaraelsherbini.com theatres (ICA, BAC, CPT, Hackney capacity as a company member of Since 1994 professor at the Empire, Chelsea Theatre), galleries Lea Anderson’s The Cholmondeleys, Academy of Drama Art, University david rosenberg (Whitechapel, South London Frauke has become a dynamic of Zagreb. From 1990 to 1992, he Gallery) site-specific projects and inventive contributor to David Rosenberg is a founder was artistic director of the SKUC (Brunswick Centre, streets and the British Dance scene. Recent member of the shunt collective and theatre. In 1993 a dramaturge and buses of London) and performance projects include the creation and director of their company shows. member of the artistic council clubs (OMSK, The Klinker, Plunge). performance of Roadkill Café, a For the last 15 years he has been of &TD theatre. 1994 – 1999 a He has shown his performances dance theatre piece for her own working with interactive multi- dramaturge in theatre group in New York and in Europe, at company, reworking Pequenas sensory performances, mainly in Montazstroj. He has written a few festivals and theatres such as Delicias a piece created specifically unusual locations, that strive to short scripts for documentary films. Playground, ZAZ, Wunder der for restaurant settings, to involve place the audience at the centre of As a dramaturge, he participated Praire and Plateaux. Bill has made community participants in Woking the theatrical experience. in numerous dance and theatre a number of works for exhibitions and Richmond; and participation productions. Program coordinator shunt.co.uk / iwake.co.uk and several audio recordings in nottdance’s Dialogues project in Centre for Drama Art (CDU) for radio and his work has been and Sadler’s Wells’ Big Intensive. since 1995. President of the board rajni shah supported by Arts Council England, Frauke has been commissioned of CDU from 2000-2007. Founder The British Council and Live Art by Sadler’s Wells and the Young and editor-in-chief (1996-2007) Rajni Shah’s work as an artist leans Magazine. As a writer, performer Vic to collaborate with director of Frakcija, a magazine for the gently but clearly across disciplines, and collaborator, he has created Daniel Kramer on a new work performing arts (one of the most countries and thought structures. and performed a number of original ‘Pictures from an Exhibition’ in highly respected performing She is a quiet voice of change, works across Europe and the US 2009. Frauke’s work offers striking magazines in Europe). One of the creating and curating visually with Julia Lee Barclay, Ivana visual imagery, physically exciting initiators of the project Zagreb - engaging performances, Muller, Apocryphal Theatre and dancing, strong theatricality, a good Cultural Kapital of Europe 3000. interventions and writings that others. A graduate of Ecole de seasoning of dark humour and open up space for conversation and Mime Corporel Dramatique and Director, producer, dramaturge an underpinning surrealism. She meeting. Whether in a public space, University of Wolverhampton and performer in internationally uses text and live music, often jazz in a theatre or on the page, Rajni (BA Fine Art/Psychology/Theatre presented artistic collective BADco. based, and a mixture of abstract finds ways to shift perspectives Studies), he has a MA from and emotionally based movement to and invite intimate dialogue with Middlesex University and practice- badco.hr deliver entertaining and intriguing strangers. based PhD from Goldsmiths performances to local and rajnishah.com College, University of London on international audiences. the subject of performer discipline fraukerequardt.blogspot.com within performance art. nick currie Art is not a value judgement, it is an lois keidan Is. She has written BBC radio inscription of endeavour. plays and published four books in The son of a linguist, Nick Currie Lois Keidan is the co founder thecentreofattention.org Japan. Associate Artist for BAC and was brought up in Edinburgh, and Director of the Live Art Duckie. She has been collaborating Athens and Montréal. After Development Agency, London with Andy Cox (ex Fine Young duckie studying English Literature at the (est. 1999). She has previously Cannibals’ guitarist) since 2000 to University of Aberdeen, Currie Led by left-wing mockney producer worked as Director of Live Arts at expand BIN membership. reinvented himself as Momus -- the ICA, London (1992 -1998) and Simon Casson, DUCKIE are a bunch kazukohohki.com named after a minor Greek god of of performance peddlers who take as national officer for Performance criticism and laughter -- and began an outsider position within the live Art at Arts Council England (1990 hannah hurzig / blackmarket a career as a singer-songwriter in art community. More at home in a - 1992). She contributes articles London in the mid-1980s. Over the nightclub than a gallery or theatre, and presentations to a range of UK Hannah Hurtzig, is the Director past 25 years he’s released twenty Duckie have coined the tongue-in- and international publications and of Mobile Academy in Berlin, albums of songs in styles ranging cheek term Progressive Working events. and founder and curator of The from through-composed chamber Class Entertainment to describe thisisliveart.co.uk Blackmarket for Useful Knowledge pop to exuberant folktronica. After their approach. Since 1995 they and Non-Knowledge. The latter diversions through the worlds of have defined post gay culture from defines itself as an interdisciplinary kazuko hohki fine art (with several performance their flagship weekly Saturday research on learning and un- shows in New York) and journalism night performance clubnight at Kazuko Hohki is a founder learning, knowledge and non- (regular columns with Wired, the Royal Vauxhall Tavern in member of Frank Chickens, which knowledge. It installs a temporary The New York Times and Frieze downtown Vauxhall south London. released five albums and toured show-and production space, where magazine), he’s publishing two They produce a range of audience worldwide. This group performed narrative formats of knowledge books in 2009, The Book of Jokes, interactive performance shows at ICA in WOMAD 1982 (their transfer are tried out and presented. a novel, and The Book of Scotlands, second public appearance). Also that blur the boundaries between mobileacademy-berlin.com a work of speculative non-fiction theatre, nightclubs and new mode she performed at ICA in 2008 about his homeland containing one pop and arty showbusiness. Duckie as part of The Clod Ensemble’s home live art thousand parallel world Scotlands. fuse experimental contemporary Red Ladies. In between, Kazuko His latest album, released in late performance with popular has created and produced several Home Live Art is a dynamic 2008, is Joemus, a collaboration entertainment forms to create ‘good theater productions including solo team of creative producers with a with young breakcore musician Joe nights out’. Recent commissions shows - Toothless, My Husband passion for presenting live art and Howe. include the Barbican, the Sydney Is a Spaceman and collaborative performance work in site specific imomus.livejournal.com Opera House, PS122 in New York work - Evidence For The Existence contexts. We explore diverse and PAC in Tokyo. of Borrowers (winner of Total spaces and environments, playfully duckie.co.uk Theatre Award and a Herald Angel referencing traditional, communal the centre of attention Award), Kazuko Hohki’s Wuthering and celebratory events to develop Heights and Oh Doh. Currently new modes of cultural experience The Centre of Attention’s interest developing Last Night I Dreamt that question and challenge wide lies in the act of marshalling the I Was An Eskimo and Borrowers ranging audiences, whilst remaining elements that any situation may Journey (for children). She has also wholly accessible to all. provide and create without physical directed several plays including Last fabrication. Carnival, Men Band and Ignorance homeliveart.com zhana Ivanova appearance and location and uses stefan kaegi spectacle to explore the intimate Zhana Ivanova was born in Russe, relationship between people and Stefan Kaegi (1972, Switzerland) Bulgaria in 1977. She was educated the environment they inhabit. They studied visual arts in Zurich and at the Queen Mary University have created projects in locations drama/theatre/media at the College, London and at DasArts, all over the world, from New York’s University of Giessen, Germany. In Amsterdam. She produces works in Brooklyn Bridge Anchorage to Argentina, Brazil, Graz and Poland the field of performance and time- Dresden’s historic Frauenkirche he worked with local performers in based arts. These often reflect on and Salisbury Cathedral, and their urban contexts, producing motor the classifications and constructs internet projects have spanned cycle tours, chasing channels, of everyday reality. Such systems continents, with simultaneous pet ceremonies or bus trips. His are customized, resulting in formal performances as far apart as Brazil, Argentinian piece Torero Portero and rule governed environments Singapore and the UK. toured Munich (SpielArt Festival), Frankfurt (Mousonturm) and Berlin as frameworks for containing stationhouseopera.com her subjects. Works have been (HAU) as well as Bogotá, Rio de realized in galleries and festivals Janeiro and São Paulo. janez jansa internationally, a.o. Mediamatic In 2005 his “mini train world” for Gallery (Amsterdam), Ellen de Janez Janša is author, performer Theater Basel - Mnemopark - was Brujne Projects (Amsterdam), and director of interdisciplinary awarded with the prize of the jury at Galerija Nova (Zagreb), Raid performances e.g. Miss Mobile, “Festival Politik im freien Theater”, Projects (Los Angeles), Product We Are All Marlene Dietrich For – Berlin. Stefan joined forces with Contemporary Art Festival (Varna), Performance for soldiers in peace- Helgard Haug and Daniel Wetzel Overhetij Festival (Amsterdam), keeping missions (together with in 2000 to create Rimini Protokoll. Melbourne Arts festival. Zhana Erna Omarsdottir) and Pupilija, Since 2006 his mobile audience Ivanova lives and works in Papa Pupilo and The Pupilceks room Cargo Sofia – a truck with Amsterdam. - Reconstruction. He is author of two Bulgarian drivers – is touring the book on Jan Fabre (Jan Fabre all over Europe. In 2007 he started station house opera - La Discipline du chaos, le chaos collaborating with Argentian writer de la discipline, Armand Colin, and theatre-director Lola Arias in With past projects ranging from Paris 1994; published in Dutch, São Paulo, Munich and Lausanne. spectacular site-specific works Italian and Slovene as well) and created with 10,000 breeze blocks, has been editor in chief of MASKA, rimini-protokoll.de & to simultaneous performances performing arts journal from 1999 hygieneheute.de across continents using live internet to 2006. He is the director of contact / feedback to: streaming, Station House Opera MASKA, institute for publishing, is an internationally renowned production and education, based in [email protected] performance company with a Ljubljana, Slovenia. unique physical and visual style. Founded in 1980, the company’s work varies enormously in scale, design: Britt Hatzius