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Highlights

Sessões Abertas de Composição em Tempo Real - PACAP5

Real Time
Composition

PACAP 5 Open Sessions

Forum Dança | Espaço da Penha

24 September to 12 November

Fridays / 6-8pm

ONLY WITH RESERVATION!

Participation is free, but because the capacity is limited, it is only possible to participate by making a prior reservation.

To book, just send your request to our email.

During the period that REAL (structure directed by João Fiadeiro between 1990-2019) directed the Atelier Real, open sessions of Composition in Real Time where organized, free to the community. They were unpretentious sessions, between the jam and the master class, which had an important impact on the artist community of the time and on the research in and around this tool. They were also very important sessions for meeting peers and for the creation of professional and affective networks that last until today.

 

During PACAP5, we want to replicate these sessions to share our experience but also to let ourselves be contaminated by speeches, gazes and practices that takes us out of our comfort zone. These sessions are open to anyone – artist or non-artist, with or without experience in improvisation, with paths linked to practice or theory – as long as the premises and principles of this practice arouse curiosity.

 

The “object of study” of Real Time Composition is the interval that emerges when linear time is interrupted and the sense of continuity is suspended (via accident, incident or “just because”). The gap resulting from this interruption, is where the research on Composition in Real Time takes place. Within that space, time has that rare quality of being simultaneously “no longer” and “not yet”. Within this space, time is not linear (or even circular) but “twisted” (like the topological surface of the “Möbius Stripe”), governed by laws that do not respect conventional notions of before and after, inside and outside or far and near.

João Fiadeiro

© Foto: Stella Iann – RTC workshop.

Forum Dança - João Fiadeiro | PACAP 5

PACAP 5 – 2021/2022

Performing Arts Advanced Programme

Curated by João Fiadeiro

in collaboration with Márcia Lança, Carolina Campos and Daniel Pizamiglio.

from September 13th, 2021, to July 30th, 2022

Introduction

PACAP 5’s programming will aim to provide a diverse and non linear approach towards artistic research, employing as reference the study and experimentation of improvisation through Real Time Composition (bloc I); collaborative practices starting from a shared question (bloc II); and practices of individual research for each participant (bloc III). Depending on their interests and availability, participants will be able to opt for a 3, 6 or 9 month course. In order to do the second and third blocs participants must attend the previous ones. The number of participants will decrease as the course progresses: 24 in the first bloc, 16 in the second and 8 in the third and final one, thereby establishing different intensities and ways of involvement with the different research practices of decision, collaboration and creation proposed within the course.

João Fiadeiro and some members of the Atelier RE.AL Collective (Márcia Lança, Carolina Campos and Daniel Pizamiglio) will be present during the entire duration of the course in order to replicate the laboratorial practice that has always characterized our activity. This aims to produce a sense of continuity between blocs and create the condition to deepen the research experience, which would be difficult to implement if the course were structured around a more fragmented and punctual participation of external guests. Regardless, running parallel to a more constant relationship with the Atelier RE.AL Collective we will invite artists and researchers to direct occasional workshops associated with the subjects being explored in each bloc. With these invitations we aim to create a critical distance with regards to our practice, to tune in to other ways of thinking-doing artistic research and generate some breathing room between the cycles.

Proposal

Facing the current global crisis, and as much for the stunning speed with which the hegemonic world tries to return to “normal” as for the monumental uncertainty that we keep experiencing, it is urgent to be more careful of our surroundings, more aware of details and more sensible to differences. It is very clear today that the systems’ sustainability and resilience does not result from our capacity to answer but from our ability to question. Specifically, our ability to frame the question. That is why a question like “not-knowing together” is so important. It acknowledges that it is not about knowledge or consumption. It is about savoring, questioning and imagining the world. Together.

Throughout the course we’ll aim to keep pressure “on the wound” implied by that question, repeating from different angles in different scales with different intensities and resisting the temptation to answer it. So that different formulations arise, different ways of being emerge, different positions present themselves. Somewhere, within all those differences, the “common” will appear. And when that happens we must be present to welcome it. Maybe that is our only responsibility: to show up when the present summons us.

To understand events from this perspective (to face not-knowing as the only thing we have) is what motivates us in designing this course as a durational practice of being in the now. We are confident that it is here, in this gap opened in time, faced with the impossibility of proceeding, that the real possibilities of action are found. Because if it is true that interruption can immobilize us (through the suspension of our expectations), it can also be an unique opportunity to deactivate the habit of letting ourselves be taken in by the frenetic economy of attention the regimes of organizing and controlling desire submit us to. The personal and collective experience that results from the suspension of knowledge is, in this perspective, a key element in our political, civic and artistic bearings.

It is in that gap – between the moment we collide with what affects us and the moment we relate to its possible manifestations – that the act of imagining, of disarranging and rearranging our perceptions, may take place. That exploration does not seek to stop movement nor to focus on it to the point of objectification. To explore the gap does not mean to propose an experience of contemplation or passiveness and even less to prioritize an embodiment of deep ennui as a space of creation. What this approach proposes is to exercise our abilities to move perception towards the periphery of the event, towards the infinitesimal relations that go through us and that can even contradict themselves. What this approach proposes is to find movement within pause. Time within time. The experience of coming to halt and taking notice.

“Notice” in portuguese means “reparar”. And “reparar” can be understood as re-parar (to stop again), to restore, to notice. Those three meanings, when activated simultaneously, are extremely powerful. This gesture of coming to a halt and taking notice (of pausing, of consideration and of paying attention) is but an exercise of commitment to the present that, subsequently, creates the conditions for the development of a sense of responsibility towards our surroundings and towards each other. / Curatorial Team

Informations

Select each of the sections below to learn about all the programme specifications, applications and selection process.

Locations where the course will take place

Target audience

The course is aimed at dancers, choreographers, performers and other artists whose practices relate to performance, body and movement. Applicants should position themselves as peers and not students and see artistic creation as a space of research through art, meaning a platform for the exploration of processes of correlation, collaboration and decision in an environment that does not distinguish between theory and practice and promotes permeability between subjects, thereby regarding the work of art as a consequence of a process and not as its end.

Note

  1. The language of the course will be English and Portuguese, depending on who is guiding the session and the needs of each moment.
  2. Scholarships will be awarded to 3 participants, after acceptance in the program, who can ensure simultaneous translation for small groups. The scholarship consists of a reduction of 50% of the total fee.

Programme timeline

Bloc I

Study, experimentation and practice of Real Time Composition
September 13 until December 11, 2021

Bloc II

Collaboration processes based on a shared question
January 17 until April 16, 2022

Bloc III

Individual investigation processes of each participant
April 26 until July 30, 2022

Confirmed guest artists

Bloc I

Lisa Nelson (USA), Romain Emma-Rose Bigé (FR).

Bloc II

Coletivo Hormigonera (UY), David-Alexandre Guéniot / GHOST (PT), Orquestina de Pigmeos (ES), Projeto Companhia – João dos Santos Martins (PT).

Bloc III

Eleonora Fabião (BR), Gustavo Sumpta (PT), La Ribot (ES), Luara Learth/Acauã Elbandido (BR), Mette Edvardsen (NO).

Applications process

The submission of applications is done solely and exclusively through the form available below. Applications will be accepted in Portuguese or English, and must include:

 

  • Motivation letter or motivation video where the applicant addresses the reasons why he or she is applying. (1 A4 page maximum in pdf format or a 3 min video maximum – in the case of sending a video, you must submit a link where it can be viewed)
  • Curriculum vitae with picture and biography (2 A4 pages maximum in pdf format)
  • Link to Portfolio focusing on the applicants work with texts, images and links to video documentation (10 A4 maximum in pdf format)
  • Contact information of two individuals with whom the applicant has had a relationship (professor, curator, programmer, collaborator, etc.) and that can provide an external perspective of the applicant’s profile.
  • Clear indication of the blocs that the applicant intends to attend (I, I+II or I+II+III). It is only possible to attend the second or third bloc having attended the previous blocs.

 

! WARNING !
We ask that you do not send, with your applications, links to your work in the form of file download. Links should only be available for viewing files online.
We only accept your CV and your cover letter as a downloadable file, everything else must be freely accessible and online.

Selection process

Bloc I+II+III (9 months)

  • Course calendar: September 13, 2021 to July 30, 2022
  • Application deadline: 29.01.2021
  • Selection phases dates:
    • 12.02.2021 ›› Announcement to pre-selected candidates
    • 15 to 19.02.2021 ›› On-line workshop
    • 22 to 26.02.2021 ›› Individual interviews with curatorial team
    • 01.03.2021 ›› Communication of results

Bloc I+II (6 months)

  • Course calendar: September 13, 2021 to April 16, 2022
  • Application deadline: 12.03.2021
  • Selection phases dates:
    • 19.03.2021 ›› Announcement to pre-selected candidates
    • 22 to 26.03.2021 ›› On-line workshop
    • 29.03.2021 to 02.04.2021 ›› Individual interviews
    • 05.04.2021 ›› Communication of results

Bloc I (3 months)

  • Course calendar: September 13, 2021 to December 11, 2021
  • Application deadline: 16.04.2021
  • Selection phases dates:
    • 26.04.2021 ›› Announcement to pre-selected candidates
    • 03 to 07.05.2021 ›› On-line workshop
    • 10 to 14.05.2021 ›› Individual interviews
    • 17.05.2021 ›› Communication of results

Note

  1. Individual on-line interviews will be scheduled with the direction of Forum Dança on a date to be defined.

Fees

Bloc I (3 months)

  • Registration: 100€, payable until one week after admission to the course.
  • Tuition fees: Bloc I: 300€ x 3 months

Bloc I+II (6 months)

  • Registration: 100€, payable until one week after admission to the course.
  • Tuition fees: Bloc I+II: 290€ x 6 months

Bloc I+II+III (9 months)

  • Registration: 100€, payable until one week after admission to the course.
  • Tuition fees: Bloc I+II+III: 270€ x 9 months

Notes

  1. Tuition fees must be paid until the 30th of the previous month. The first payment must be made until 30 August 2021.
  2. If the course is paid in full until 30 August 2021 a 10% discount will apply.
  3. Scholarships will be awarded to 3 participants, after acceptance in the program, who can ensure simultaneous translation for small groups. The scholarship consists of a reduction of 50% of the total fee.

Schedules

Monday to Friday from 10 am to 5 pm.

Synopsis

Select each of the sections below to learn about the different synopses for each of the blocs that make up this programme.

Bloc 1. Study, experimentation and practice of Real Time Composition

The proposal for this bloc will be to immerse ourselves (intensively and extensively), in ways of researching, experimenting and applying Real Time Composition (Composição em Tempo Real), a (theoretical) practice and a (practical) theory that positions itself as a field (as in a place, a territory) with the sole purpose of welcoming the forces at play in each instant in what we conventionally designate as “present”. From Real Time Composition’s perspective, inside this present time is simultaneously “no longer” and “not yet”. A non-linear time, experienced as a Möbius strip where interior and exterior, before and after, form and force, merge and confound.

 

Before any presentations or introductions, the course’s first week will begin with a collective performance involving the 24 participants entitled “O que fazer daqui para trás” (loosely translatable as “What to do from here on backwards”), in its expanded version. This is how we’ll present ourselves: through action and through the traces our positions leave behind. Only in the second week will the group have the time to get to know each other better and share their individual paths.

 

Throughout the duration of the bloc João Fiadeiro will be accompanied by Márcia Lança and Daniel Pizamiglio (with 15 and 10 years’ experience in Real Time Composition, respectively). We will also have the continuous presence of “text-worker” Romain/Emma Bigé, a French trans*feminist philosopher and dancer with whom João Fiadeiro has collaborated many times (namely as co-curator of the show “Draftings Interior Techniques”, on Steve Paxton’s work and legacy). Romain/Emma will organize weekly seminars that place Real Time Composition’s experimental practices in relation with (in her own words) “dance’s capacity for celebrating wryd and rare forms of tenderness between humans & other critters of Terra. She will offer Textual Practices, including: Sexy Library (because reading is sexy), Blind Book Club, Conceptual Speed Dating and other Marvels to think with texts and bypass the cortex”. The choreographer and improviser Lisa Nelson will also be present, running a two week workshop focusing on her “Tuning Scores” research. Among João Fiadeiro’s peers that deal with ways of  think-operate decision and performance, Lisa is the one with whom he has the most affinities and an enormous respect. Her presence will serve not only to share with the participants the absolutely singular practice of this american artist, but also to  put in relation two composition and improvisation tools that share an enormous amount of questions and research topics.

 

This bloc will culminate with two weeks dedicated to the study, experimentation and reenactment of the performance EXISTENCE (EXISTÊNCIA), taking place at Lisbon’s Teatro do Bairro Alto (a PACAP 5 strategic partner and co-producer). EXISTENCE premiered in 2002 at Paris’ Centre Pompidou and was João Fiadeiro’s only project where Real Time Composition took place in a public setting, placing performers and audience in a space of radical engagement with the present and with the idea of know-knowing together. The EXISTENCE experience was structural in the systematization and processing of Real Time Composition as a tool and deeply influenced dozens of choreographers, performers and artists that went through that project. The visual artist Walter Lauterer and the musician Arnold Noid (that respectively handled the real time composition of space and sound in the original project) will be in Lisbon for the public presentations with the course’s participants.

Bloc 2. Collaboration processes based on a shared question

In this second bloc (now reduced to 16 participants) we want the group to keep working with the issue of collaborative processes, but this time from a common questioning standpoint (an approach positioned between the “absence of a previous question” explored in the first bloc and the existence of an “individual question” to be explored in the third bloc).

 

This is an issue that has occupied João Fiadeiro’s practice since the 1990’s and that in a certain way was the reason why a tool like Real Time Composition began being developed. At the time the ambition was to develop a common language that enabled a shared experimentation field but without letting that language restrict us (condemn us) into following a previously established direction (usually dictated by the author). But at the same time we weren’t interested in developing an exclusively horizontal experience because we knew that simply removing the author from the equation wouldn’t stop the power structures, now implicit, from taking hold of the narrative.

 

What we found is that there is a colossal difference in the way this “diagonal strategy” of addressing collaboration is applied if we are facing the perspective of an individual decision (as when improvising or even in solo work) or that of an collective decision (as it happens in group projects). While at the individual level the “matter of the affect” can remain in the shadow, protected from light and labeling (and afford the luxury of only revealing itself at the end), at the collective level if the affect (what moves and connects us) is not shared at the beginning of the collaborative process then group dynamics can easily fall into conflictual or submissive modes of relation. What we strive for is the creation of conditions for relations based on “reciprocal” approaches to be formed and, along the way, to deactivate binary logics where one either tries to convince someone else of its opinion or subjugates itself to theirs.  A reciprocal relationship implies that we share “the affect” and the forces at play at the moment of our encounter (by definition vulnerable, incomplete and fragile). It implies that we listen and pay attention to the (weak) signals that the event is sending us. In one sentence: implies accepting that we do not know (together).

 

How to identify, circumscribe and share a collective affect in a way that we can then work the relation and the encounter? And how is it possible to create a shared vital force that allows the finished work to translate an unrest which is transversal to everyone and not a patchwork of tendencies, desires and disperse questioning?

 

These questions will be the starting point for the research in the second bloc. They will be placed and managed mainly by the voices (and the bodies) of those that have experienced first-hand the tension between authorship, authority, authorization and autonomy: the performers and co-creators of the group works. This research period will then be exclusively mediated by Márcia Lança and Carolina Campos with the occasional presence of João Fiadeiro. Not only did Márcia and Carolina had central roles in the creation of the RE.AL’s group pieces but, in recent years, they have been working together in co-authorship on different projects where these questions occupy a prominent place.

 

The results of the research developed in this bloc will also be presented at Teatro do Bairro Alto, in a format and configuration to be defined.

 

In parallel to this continuous research, instigated and mediated by Márcia and Carolina  (but developed in a self-organized manner by the course’s participants), we will have the participation of some invited collectives that will function as “case studies” by sharing their practices, experiences and questions regarding collaborative creation. Firstly we will welcome João dos Santos Martins with the project  Companhia (Company), created in a collective manner in 2018 (by the same group that created the “Projecto continuado” in 2015). The project focuses on the term “company”, simultaneously referring to the idea of a dance company, the company of other people and the notion of collective and interdependency that exists in the community experience. Secondly we’ll have the Hormigonera project – meaning concrete mixer in english  -, a collaborative creation practice that researches dramaturgical processes and alternative modes of collaboration. It is driven by a group of Uruguayan artists working in the languages of space, matter, light and sound to invoke performative action with the aim of giving a voice to “poor” and “marginal” materials and putting themselves, as artists, in service of their agency. Lastly, we will have the catalan collective Orquestina de Pigmeos, that operates between performance, sound and cinema, working mostly in site-specific environments in close proximity with local communities. Finally in this bloc we’ll also have the participation of David-Alexandre Guéniot, director of the publishing company GHOST, who will develop a project with the participants that will culminate in an artist(s) book produced in a collective manner.

Bloc 3. Individual investigation processes of each participant

Having arrived at this stage of the course, now with 8 participants, the focus will switch to the individual research of each participant. João Fiadeiro, Carolina Campos and Daniel Pizamiglio will mainly function as facilitators of the research process so the participants can   use the tools previously  labored and experimented in the  first and second blocs and transfer them towards their individual research.  The final presentation – that will once again take place at Teatro do Bairro Alto –  may take the form of a work in progress, a prototype or even a “work” as long as  the focus will not be on the product but in the process. What we are interested in questioning and identifying are the adequate ways of presentation so that the potency encompassed in the initial question can be translated in such a way that there is a correlation between the artist’s initial affect and the action made public.

 

This public dimension of the sharing process is fundamental so that the “other” stops being idealized and there is the recognition that a gesture is only really concluded when it is received by a third party. It is often in this moment of “collision” with  the other that we realize clearly if what we said-did was exactly what we wanted to do-make. it rarely is. But what matters, especially in a training- and researching frame, is the recognition of that difficulty so that, from there, we can fail again. “Fail better”, as Beckett puts it.

 

During the bloc we will be visited by five artists – La Ribot, Gustavo Sumpta, Mette Edvardesen, Eleonora Fabião and the duo Luara Learth / Acauã Elbandido – who will share with the group the way they “failed” to get to the research place where they are. These are artists that share similar assertions in the relation they develop with the artistic gesture, mainly in what concerns their work ethics and radical commitment with the present time. They also have in common a critical positioning towards their disciplines, not letting themselves be captured by any type of artificial and manipulative labeling.  Despite these contact points we made sure of having contrasting artists, on a formal, geographical and generational level.

 

Our expectation is that access to their ways of operating will impart on the participants this simple equation: even if the ways leading up to the construction of a work (gesture, action) will always be multiple, it will invariably be as a result of the collision (and relation) between our strengths  and our vulnerabilities (between poetry and savagery), that something vital and urgent can emerge.

Participants

Andrei Bessa (BR), Aline Belfort (BR), Bárbara Cordeiro (PT), Bartosz Ostrowski (PL), Bruno Levorin (BR), Carolina Canteli (BR), Chloé Saffores (FR), Fatemeh Towhidlou (IR), Francisco Thiago (BR), Giovanna Monteiro (BR), Herlandson Duarte (CV/PT), Jean Lesca (FR), Katarina Lanier (US), Katinka Wissing (DK), Leonardo Shamah (BR), Leonor Lopes (PT), Leonor Mendes (PT), Lucas Damiani (UY), Nazario Díaz (ES), Nicole Gomes (BR), Piero Ramella (IT), Roberto Dagô (BR), Rosa Sijben (NL), Ves Liberta (PT), Vicente Ramos (BR).

Application form

Biographies

Curatorship

Forum Dança | PACAP 5 - João Fiadeiro

João Fiadeiro

Born in 1965, João Fiadeiro is part of a generation of choreographers that emerged in the late 1980’s and gave rise to the Nova Dança Portuguesa (New Portuguese Dance).

His career, both as a choreographer or performer and as a researcher or curator, has centered on creating conditions for experimentation, for laboratorial practices and for the intersection between artistic and scientific research. This activity was developed as much by coordinating programming and artistic research projects at Centro Cultural da Malaposta [1990-95], Espaço Ginjal [1995-98], Lugar Comum [1999-2000], Espaço A Capital [2000-2002] and Atelier Real [2004-2019] as by his artistic practice through his choreographies and the research workshops on and around Real Time Composition.

In all these different platforms João Fiadeiro was always accompanied by artists that participated as creators, performers, researchers and programmers, contributing in a decisive manner to the existence of this project through thirty years of non-stop activity.

The current group, here called Coletivo RE.AL (RE.AL Collective) as a variable geometry and for this PACAP will consist of Márcia Lança, Carolina Campos, Daniel Pizamiglio and Ivan Haidar, all of which have had a preponderant role in the activity of this collective in the past five years, from the co-creation of collective pieces (“O que fazer daqui para trás”, 2015, and “From afar it was an island, de perto uma pedra”, 2018) to the systematization of Real Time Composition and Atelier Real’s programming.

Collaborators

Forum Dança | PACAP 5 - Márcia Lança

Márcia Lança

Márcia Lança started her training in Performing Arts at Chapitô (1999/02).

Of the dance training she highlights ex.erce 05 at the CCN from Montpellier, the basic course of Movement Analysis, by IAM (2004), the Course of Contemporary Dance and Movement Research at SNDO Amsterdam (2003), the Research Course and Choreographic Creation at Forum Dança (2002) and continuous training at C.E.M. (2001/04).

She created Dentro do Coração, NOME, Por esse Mundo Fora, Evidências Suficientes para a Não Coerência do Mundo, Happiness and Misery, 9 Possible Portraits, O Desejo Ignorante, Trompe le Monde, Morning Sun, Dos joelhos para baixo.

She collaborated with João Fiadeiro, Cláudia Dias, Sónia Baptista, Alex Cassal, Carolina Campos, Miguel Castro Caldas, Olga Mesa, Nuno Lucas, Jørgen Knudsen, Aniol Busquets and Thomas Forneau.

Forum Dança | PACAP 5 - Carolina Campos

Carolina Campos

Carolina Campos is Brazilian and lives between Lisbon and Barcelona.

She conducted the Independent Studies Program at the Museum of Contemporary Art in Barcelona.

In Brazil she worked with Lia Rodrigues Cia de Danças, between 2008 and 2011.

She has been collaborating intensively since 2013 with João Fiadeiro in the formation, creation and investigation of Composition in Real Time.

In Barcelona she is associated with the Scottish Breeding Center.

Forum Dança | PACAP 5 - Daniel Pizamiglio

Daniel Pizamiglio

Daniel Pizamiglio is a Brazilian performer and creator.

From 2008 to 2010 he took the Technical Dance Course in Fortaleza (2008-2010). During this period he met the choreographer João Fiadeiro and from this meeting he moved to Lisbon in 2012, where he currently lives and works.

Since then he has studied and practiced Real Time Composition; he participated in the Program of Study, Research and Choreographic Creation of Forum Dança (2015-2016); he has collaborated as an interpreter, co-creator and assistant director with different artists.

In his authorial work, he seeks an encounter between poetry and the body (“Dança Concreta”) and how to activate the corporeality of affections and relationships (“Preste Atenção Em Tudo A Partir de Agora”).

Support and Partnerships

Coproduction PACAP 5: TBA – Teatro do Bairro Alto

Support PACAP 5: O Rumo do Fumo, Alkantara, OPART | Estúdios Victor Córdon, O Espaço do Tempo, Fundação GDA

Actividades PACAP 5

Forum Dança - João dos Santos Martins | PACAP 4

PACAP 4 – 2020

Curated by João dos Santos Martins

From January to July 2020

Thinking a study plan is always a conflict between the ideal and the possible, between a certain imposition of a way of seeing and being in the world, and the creation of conditions to originate other worlds. In the words of Rabindranath Tagore, education is of no use but to respond and to rid ourselves of the “suicidal aggressiveness of collective selfishness”. This program is no more than that. Focused on experimentation, it will seek to challenge the paradigms of contemporary dance and choreography through the activation of a critical and discursive positioning, although always committed to these practices. But this program is mainly thought of as a protected time and place to encourage all participants to develop and analyze their artistic practice in a collective environment, intellectual and artistically stimulating.

 

In this program classes are not distinguished between ‘technical’, ‘research’ or other. We assume that there can be no distinction between practical and theoretical knowledge and that it is this division that induces an alienation in the work itself. The program is based solely on the proposals of the artists and speakers who will spend time with the participants, enhancing common experiences of questioning and transformation. The invited speakers share the need to demystify the body/head, action/thought, practice/theory dichotomies, seeking to articulate discourse and practice as integral parts and members of ways of making and thinking, and not as opposite poles.

 

We believe in the practice of dance as a support for artistic practice that is in permanent dialogue with other supports and with the genealogies of the history of art in general. We will seek a dialogue with these various ‘supports’ and with the agents who practice them, through visits to local artists’ studios and partnerships with surrounding structures and institutions who establish bridges with the local artistic context. And as art making is always in dialogue with its ways of apprehension, the program is continually reinforced with visits to exhibitions, film screening, going to shows and conferences of agents from various domains.

 

We believe that part of the artistic labor is necessarily self-taught. In this sense, we will privilege the cultivation of a space for sharing, collaboration and group work in order to build common knowledge and experiences that encourage participants to deepen their practices, individually or collectively. During the duration of the program, studios will be available so that participants can develop their work whose processes will be shared over six months. At the end of the cycle all participants should publicly present their work, articulating thus, as Rancière says, “the ways of doing, their corresponding forms of visibility and the possible ways of thinking their relations”. João dos Santos Martins 

Bio

João dos Santos Martins (Santarém, 1989) is an artist working through dance and choreography. He began his dance studies at the Higher School of Dance, in Lisbon, and at P.A.R.T.S., in Brussels, and completed his choreographic studies between exerce, in Montpellier, and the Institute for Applied Theater Studies, in Giessen.

Since 2008, he articulates his practice between producing work and collaborating as a dancer with other artists such as Ana Rita Teodoro, Eszter Salamon, Moriah Evans and Xavier Le Roy. His work is characterized by a diversity of apparatuses that invest in the production of conflicts between the subject who dances and the danced object. His pieces are usually developed in collaboration with other artists such as in Anthroposcenes (2017) with Rita Natálio and Pedro Neves Marques, and Where is the Coat? (2018) with Cyriaque Villemaux and Ana Jotta.

Since 2017 he has expanded his practice to other parallel formats. He curated the cycle New—Old Dance in Santarém, with performances, workshops, conversations and exhibitions; created alongside Ana Bigotte Vieira a device for a collective historicity of dance in Portugal – For a Timeline to Be — and founded a journal — Coreia — dedicated to the discourse produced by works and artists, in close relationship to dance.

Confirmed artists and speakers

Ana Jotta (PT), Ana Pi (BR), Ana Rita Teodoro (PT), Antonia Baehr (DE), Christine de Smedt (BE), Christophe Wavelet (FR), Chrysa Parkinson (US/SE), Eszter Salamon (HU), Fred Moten (US), Joana Sá (PT), João Fiadeiro (PT), Latifa Laâbissi (FR), Moriah Evans (US), Paula Caspão (PT), Pedro Barateiro (PT), Rita Natálio (PT), Scarlet Yu (HK), Vera Mantero (PT), Xavier le Roy (FR).

Participants

Alina Ruiz Folini (AR), Aline Combe (FR), Bianca Zueneli (IT), Emily Barasch (US), Isadora Alves (PT), Isis Andreatta (BR), Julián Pacomio (ES), Laura Ríos (CU), Laure Fleitz (FR), Leire Aranberri (ES), Maria Abrantes (PT), Marina Silva / Dubia (BR), Natália Mendonça (BR), Randy Reyes (US/GT), Sara Vieira Marques (PT), Suiá Ferlauto (BR).

Showings

  • Cycle of presentations in Lisbon, scheduled to take place in July 2020, as part of a programming cycle at the Calouste Gulbenkian Foundation.

PACAP4 Activities

Forum Dança - Vânia Rovisco | PACAP 3

PACAP 3 – 2019

Curated by Vânia Rovisco

From April to August 2019

available soon

Forum Dança - Sofia Dias & Vítor Roriz | PACAP 2

PACAP 2 – 2018/2019

Curated by Sofia Dias & Vítor Roriz

From September 2018 to March 2019

available soon

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