Title Image

PACAP #04

Vulture Realness Invocation
or I just can’t be like this with you anymore

randy reyes (US/GT)

Title Vulture Realness Invocation or I just can’t be like this with you anymore (video) | Piece Length 7 min.

Espaço Alkantara | 1 and 2 July

Synopsis

The Precipice becomes The Portal leading to The Initiation into The Underworld. For All of Us. Standing Still becomes the only sustainable Movement of the Body through the Breath. What Textures remain in the Ashes of my Unknowing? What are my Values? What do I Stand for now, and again and again? You won’t go down without a Fight. This I know. I surrender.

 

Credits

Choreographed and performed by randy reyes (US/GT)

Filmed and edited by Chani Bockwinkel

 

Short Bio

randy reyes is prioritizing resting, dreaming, healing, and meditation as forms of resisting.

 

Acknowledgements

Thank you ancestrxs, mentors, friends, and lovers near and far, wherever you are, I believe that the heart does go on.

 

Image Credits Hannah Ayasse, Performance Primers, Oakland, CA 2019

PACAP 4 Showings

How do we continue together

Emily Barasch (US)

Title How do we Continue Together (video) | Piece Length 30 min, Loop

Espaço Alkantara | 1 and 2 July | From 19h00

Synopsis

How do we Continue Together is a video installation serving as a movement meditation for precarity. It asks us to be present, slow down, tune in, and engage in emergent strategies of actively becoming. We do not know what will come next, or how we will get there, but we can allow it to to radically unfold if we practice noticing. As we find movement in restructuring our external systems, we must also find movement in shifting our emotional, spiritual, and physical structures. This is a proposal for transforming the ways we move through this world, in our bodies, in the many nuanced spaces we occupy.

 

Credits

By Emily Barasch (US)

With randy reyes, Eddy Levin, Suiá Burger Ferlauto, Analu Fretta and Sanchita Sharma

 

Short Bio

Emily Barasch (California 1992) is a California based choreographer, performer, and scholar using the body as the site of research and exploration. Her choreographic and scholarly work looks at the potentiality of mobilizing hysteria as a performance strategy to create worlds wherein queer, trans, and femme bodies can be represented in an alternate figuring of space, time, and language, that transcend rather than transgress the logics of capital time, linear narrative, and dominant language.

 

Acknowledgements

Thank you to the participants who graciously engaged in this movement meditation score and had many individual conversations with me about their experiences!

PACAP 4 Showings

Green Abyss
or I never dreamt of it again

Isis Andreatta (BR)

Title Green Abyss or I never dreamt of it again | Piece Length 35 min

Espaço Alkantara | 1 and 2 July | 21h00

Synopsis

To look in reverse so to repair what has always been there despite the apparent invisibility. A matter of perception and sorcery. Something that embodies what is already in itself and beyond.  The cure. The noise heals. The touch heals. The eyes see other things when they are squint. The body is not given and it is not obvious. It is image in action. Imagination. To imagine is to change. To move towards the future that presents itself as ruin. A recurring dream. Body that troubles death and disease in order to reactivate life. Tragedy. Curse. Spell. Care is caring and danger at the same time. Poison on the one hand, medicine on the other. A matter of measure.

 

Credits

Conception and performance Isis Andreatta (BR)

Sound collaboration Sara Vieira Marques | Collaboration Alina Ruíz Folini and Natália Mendonça

 

 

Short Bio

Isis Andreatta (São Paulo, Brazil, 1988) is an artist who works as a performer, choreographer and educator. Starting from dance practice she is interested in exploring the body in its psychophysical dimension in her works, she focused on practices of co-authorship and interdisciplinarity between art and therapeutic care. She is co-director and dancer of Grupo VÃO since 2009.

 

Acknowledgements

The Forum Dança team and each PACAP 4 participant. Christine de Smedt, João dos Santos Martins, João Fiadeiro, Josefa Pereira, Juliana Melhado, Julia Monteiro Viana, Patrícia Árabe and Vera Mantero. To the Espaço Alkantara.

 

Image Credits Natália Mendonça

PACAP 4 Showings

Porte

Laure Fleitz (FR)

Title Porte | Piece Length 20 min

Espaço Alkantara | 1 and 2 July | 20h20

Synopsis

Son corps est le support

de restes d’aquariums

 

Elle porte sur le sol

le poids de ses coquilles

de son pas les relie

en morceaux de montagne

 

Amas de rien

du tout.

 

Credits

By and with Laure Fleitz (FR)

 

Short Bio

Everything starts with someone running in a movie scene, and a coincidence — that isn’t accidental.

Laure finds dancing at the age of 21 and a half. Initially trained in improvisation, by its patient and poetic observation, her interests extend into other areas, according to growing curiosities, sudden revelations and necessities.

 

Acknowledgements

Dora Carvalho, Carolina Martins, João dos Santos Martins, Christine de Smedt, Zeca Iglésias & Forum Dança Team. All my PACAP IV comrades for their little big attention which is everything.

 

Image Credits Laure Fleitz

PACAP 4 Showings

Heat is life

Bianca Zueneli (IT)

Title Heat Is Life | Piece Length 20 min

Espaço Alkantara | 1 and 2 July | 19h50

Synopsis

In this work I deal with the repetition of one idea in motion.

The more the idea circulates, the more it becomes recognizable.

It circulates as time does around us: indefinite, unreal, seemingly visible in its effects. It offers the same events to us, for us to act as we wish. It shows almost the same things, never in the same way. The movement circulates like a structure does around us and above. Being it real or invented, it affects us. For once I decided to become the structure. I became the Solar System. I became time. I decided to go back and see the same things from another angle. I realized this is not more ambitious than any other thing one could do. Anyone could do it.

 

“Science has failed, Heat is life, Time kills.” Chris Burden in Poem for L.A. A commercial aired in Los Angeles a total of 72 times from June 23 to 27, 1975.

 

Credits

Concept Bianca Zueneli (IT)

Music Costanza Bortolotti | Video Emma Panini, Gisella Gaspari

 

Short Bio

Bianca Zueneli (Italy, 1993) is active as a dancer, a maker, a teacher. She started her studies at the Fine Art Academy of Venice before moving to Belgium, where she graduated in Contemporary Dance at the Royal Conservatory of Antwerp. Over the last years she has mainly worked in Belgium in various dance productions and as a teacher, and now moves between Lisbon and Italy.

 

Acknowledgements

Lucia Fontanelli, Manuel Gamberini, Cuoghi Corsello, Koinè, the team of Forum Dança and PACAP, Joker (Luigi), Sylvia Notini, Dino and RTS-Reclaim the streets, Malevich.

 

Image Credits Reclaim the streets, M41 Party, 13 July 1996

PACAP 4 Showings

Aurora

Sara Vieira Marques (PT)

Title Aurora | Piece Length 40 min

Espaço Alkantara | 1 and 2 July | 19h00

Synopsis

This material was collected slowly. First, small cells appeared around a sanctuary, an event, a thing. Only then came everything that moves. It was a shapeless and empty mass. A heavy and incandescent mass, from which silhouettes rise.

Aurora is a glow that can be heard in space. The shadow of a mountain suggests its shape, as if it were a spot or a black spot in the dark. Uncontrollable, fragile and volatile. It is the clarity that precedes the dawn.

The beginning: “Please make some waves. Just waves.”

 

Credits

Conception and performance Sara Vieira Marques (PT)

 

Short Bio

Sara Vieira Marques is an artist, performer, and scenic designer for dance, theater and performance projects. She is currently finishing her Master’s thesis in Anthropology – Visual Cultures (NOVA-FCSH), deepening an artistic and academic practice that moves in the fields of anthropology, philosophy, cinema and installation. She maintains lasting artistic collaborations with the Brazilian choreographer Gustavo Ciríaco and with the director João Pedro Vaz. // Website: www.saravieiramarques.weebly.com

 

Acknowledgements

To Eliane Radigue. To Alina, Isis, João, Julián, Leire, Marina, Natália and to Suiá. To Joana Sá, Adriana Sá and Cátia Sá. To Ana Trincão, to Daniel Pizamiglio and to Leticia Scrkycky. To Santi.

 

Image Credits Sara Vieira Marques

PACAP 4 Showings

Heat is life (video)

Bianca Zueneli (IT)

Title Heat Is Life (video) | Piece Length 25 min, Loop

Espaço da Penha | 26 and 27 June | From 19h00

Synopsis

In this work I deal with the repetition of one idea in motion.

The more the idea circulates, the more it becomes recognizable.

It circulates as time does around us: indefinite, unreal, seemingly visible in its effects. It offers the same events to us, for us to act as we wish. It shows almost the same things, never in the same way. The movement circulates like a structure does around us and above. Being it real or invented, it affects us. For once I decided to become the structure. I became the Solar System. I became time. I decided to go back and see the same things from another angle. I realized this is not more ambitious than any other thing one could do. Anyone could do it.

 

“Science has failed, Heat is life, Time kills.” Chris Burden in Poem for L.A. A commercial aired in Los Angeles a total of 72 times from June 23 to 27, 1975.

 

Credits

Concept Bianca Zueneli (IT)

Music Costanza Bortolotti | Video Emma Panini, Gisella Gaspari

 

Short Bio

Bianca Zueneli (Italy, 1993) is active as a dancer, a maker, a teacher. She started her studies at the Fine Art Academy of Venice before moving to Belgium, where she graduated in Contemporary Dance at the Royal Conservatory of Antwerp. Over the last years she has mainly worked in Belgium in various dance productions and as a teacher, and now moves between Lisbon and Italy.

 

Acknowledgements

Lucia Fontanelli, Manuel Gamberini, Cuoghi Corsello, Koinè, the team of Forum Dança and PACAP, Joker (Luigi), Sylvia Notini, Dino and RTS-Reclaim the streets, Malevich.

 

Image Credits Reclaim the streets, M41 Party, 13 July 1996

PACAP 4 Showings

Chorume

Natália Mendonça (BR)

Title Chorume | Piece Length 40 min.

Espaço da Penha | 26 and 27 June | 21h30

Synopsis

That dirty water that escapes from the garbage bag, usually resulting from the decomposition of food, gives name to a specific moment of the Brazilian carnival. It describes the slow and festive dispersion in the streets soon after the end of the parade block; when the bodies, once  together, have difficulty returning to the solitary state of individual, and remain clinging to each other as a last desire not to let themselves be singularized. This process, which makes the before and after indistinguishable, results on a body that sought to activate itself and is open to the desire to affect itself.

 

Credits

Conception and performance Natália Mendonça (BR)

Collaboration Isis Andreatta, Alina Folini, Sara Marques e Suiá Ferlauto

 

Short Bio

Natalia Mendonça (Brazil, 1983) is a dance artist who has been living in São Paulo for 13 years. As a performer-maker, her research combines the making of her own work and being part of projects by other artists. Currently, her most recent collaborations were with Clarice Lima, Cristian Duarte and coletivA Ocupação.

 

Acknowledgements

PACAP 4 participants, Forum Dança, João dos Santos Martins, Josefa Pereira, Vera Mantero, Manoela Rangel and Fábio Zuker.

 

Image Credits Isis Andreatta

PACAP 4 Showings

Looking Through a Sacred Flame

Isadora Alves (PT)

Title Looking Through a Sacred Flame | Piece Length 40 min.

Espaço da Penha | 26 and 27 June| 20h45

Synopsis

Interior exterior exterior interior interior exterior exterior, impossible to escape it, inside

and outside, frontier or limit differentiation imagination exterior exterior exterior interior

interior exterior, does it matter, exterior exterior exterior intrans — Secular, indent.

What has to be broken? What needs to be recovered?

Multiple however one. So it is the admiration for X, Y and Z.

And the eyes, settled on the fold of the horizon, invent another destiny.

 

Credits

Concept and artistic direction Isadora Alves (PT)

Developed and performed by Ana Libório, Bruno Humberto and Nuno Nolasco

Set Bruno Humberto and Isadora Alves

 

Short Bio

1996 Lisbon. She develops her own work at the moment. She has worked as an assistant to Felipe Hirsch, Bruno Humberto, Rui de Almeida Paiva and Teatro o Bando. As a performer she participated in shows with Tiago Vieira, Tiago Mateus, Maria Duarte, João Rodrigues and Gonçalo Ferreira de Almeida, Niño Proletário, Miguel Bonneville, António Pires and Elmano Sancho. In films, she worked as an actress for Pedro Cabeleira, João Eça and Diogo Baldaia. She worked with German artist Jan Brokof on Exotification and Hans Staden TV. She graduated from ESTC with a diploma in Theatre Studies and now she is about to finish Forum Dança’s PACAP 4 study program. She collaborates currently with Bruno Humberto.

 

Acknowledgements

Gonçalo Alegria, Latoaria, Julio Alves and all that were part of PACAP4.

 

Image Credits American Schools of Oriental Research from Shea (2001a)

PACAP 4 Showings

Pink noise

Alina Ruiz Folini (AR)

Title Pink Noise | Piece Length 30 min

Espaço da Penha | 26 and 27 June | 19h50

Synopsis

This voice is a body vibrating within another body. These eyes, I don’t know how to say, have to be there. This tongue echoes by sliding through warm saliva. This dispossessed mouth speaks inwards. The vulva is often said to be a mouth. Mouths, orifices, tongues and hands are allies in lesbian pleasure. Many. The one that looks, the one that sounds, the one that speaks. A word and the roar that deforms it. A sound and the saliva wrapping it. The claw is still on the knee and everything looks like AAAAAAuuuu and everything does like BúOBúOBúO like gRRRRRRRRRR. The voice is thrown towards that other space in the back, in the ancient brain, towards the occipitals. And there everything does HHUUUUUUUMMMM.

 

Credits

Conception and performance Alina Ruiz Folini (AR)

 

Short Bio

Alina Ruiz Folini (Argentina) is an artist and researcher. Her work moves between choreography, dance and curatorial practices. Master in Scenic Practice and Visual Culture from the UCLM / Reina Sofía National Art Museum 2017-2018. Co-directs ARQUEOLOGIAS DEL FUTURO – International Festival of Performing Arts in Buenos Aires. Co-creates TACTILE Project with Leticia Scrkycky. She is a dancer in the Trilogía Antropofágica and the Serie Canibaldirected by Tamara Cubas (UY). She is based in Lisbon.

 

Acknowledgements

Carolina Campos, Ibon Salvador, Isis Andreatta, Sara Marques, Natália Mendonça, Christine De Smedt and Suiá Ferlauto.

 

Image Credits video still from Alina Ruiz Folini

PACAP 4 Showings

Letter to an emerging quantity

Marina Dubia (BR)

Título Eu só tinha o título, agora não tenho nada | Duração 30 min

Espaço da Penha | 20 e 21 de Junho | 18h00

Synopsis

Movement follows in a single direction. On the way, particles agitate and make rocks, creeks, urbanscapes and their inhabitants. On the way, what was one swallowed distances, took on space, defined contours and formalized separations. Discrete beings who do not speak the same language, if not that of common cause. Of what nature is experience? Time follows in a single direction.

 

Credits

Conception and performance Marina Dubia (BR)

 

Note Only spoken in Portuguese

 

Short Bio

Marina Dubia (São Paulo, 1992). Professional dilettante excessively obsessed with the nature of reality. Keywords: conceptualism, independent publishing, translation, mountain, short-circuit, cockatoo, editorial, contact, improvisation. Vaguely based in Copenhagen. More of a wanderer than an artist.

 

Acknowledgements

Alina, Aline, Amaurilo, Anabela, ar, Bianca, Carolina, Christine, Dinamarca, Dora, Emily, Fernanda, Fiadeiro, Flávia, Isis, Josuke, João dos Santos, Julián, Keo, Laura, Laure, Leire, Maria, mistério, Natália, oficinas de poesia, placas tectônicas, Randy, Rovelli, Ruan, Sara, Suiá, Susskind, Vera, Yasmin.

 

Image Credits Marina Dubia

PACAP 4 Showings

Apocalypse among friends
or simply the day

Julián Pacomio (ES)

Title Apocalypse among friends or simply the day | Piece Length 60 min. (open doors)

Espaço da Penha | 20 and 21 June| 20h15

Synopsis

For a long time we’ve been going to bed early. We are people of the day, night is someone else’s business. We wait for the apocalypse together, all of us, here. At some point the familiar, the intimate, will become unsettling, and the end will come peacefully, so kind.

Something dark will emerge to the surface incriminating life, and nothing will be the same; memories, those of passed times, will no longer matter; only the strongest ones will, that is, those of now. We will never be contemporary again and only daylight will remain, as simple as that.

or

[…] this doesn’t make sense but the rest doesn’t make sense but the rest is death.

 

Credits

By Julián Pacomio (ES)

Performance Daniel Pizamiglio, Alina Ruíz Folini, Sara Vieira Marques, Marina Dubia, Leire Aranberri Laure Fleitz, Maria Abrantes, Aline Combe and Julián Pacomio.

 

Short Bio

Julián Pacomio (Mérida, Spain, 1986) is an artist and a performer. His performing art works question the idea of copying, remaking, translation and appropriation of others’ materials. www.julianpacomio.net

 

Acknowledgements

Iván Haidar, Ignacio de Antonio Antón, Carolina Campos, Ángela Millano and João dos Santos Martins.

 

Image Credits The Triumph of Death, Pieter Bruegel the Elder. 1562

PACAP 4 Showings

Would you hire me?

Aline Combe (FR)

Title Would you hire me? | Piece Length 20 min

Espaço da Penha | 20 and 21 June| 19h50

Synopsis

During the Performing Arts Advanced Programme (PACAP 4), I asked to some of the invited artists these two questions: “How much are you paid to be there with us?” and “Would you hire me?”. Sometimes I could record the entire interview and transcribe it, sometimes I only took notes. The installation “Would you hire me?” is the presentation of what I collected from this interview protocol.

Note: “PACAP” in French is a way for children to say, “I dare you!”.

Second Note: Text in English, no translation.

 

Credits

By and with Aline Combe (FR)

 

Short Bio

Aline Combe (Paris, France, 1989) is a dancer, performer, and a collector of human details. She works with blurry zones, untold-stories, frustration, and a mix of fiction and reality. She used to fail, and few know about her work.

 

Acknowledgements

Forum Dança team, João dos Santos Martins, PACAP 4 group, Moriah Evans, Ana Pi, Scarlett Yu and Christine De Smedt.

 

Image Credits Jules Serra

PACAP 4 Showings

How to water fake plants

Maria Abrantes (PT)

Title How to water fake plants | Piece Length 40 min

Espaço da Penha | 20 and 21 June | 19h20

Synopsis

Wanting to feel the weed

recently cut

in my 2-room city apartment.

With the door always open

so they can come in

and one step away from going out and feeling

on the foot

my huge carpet of dirt.

 

Credits

By and with Maria Abrantes (PT)

 

Short Bio

Maria Abrantes (Lisbon, 1998) is always stumbling and can’t stand still for long.

 

Image Credits João Sanchez

PACAP 4 Showings

Loose loop

Leire Aranberri (ES)

Title Loose Loop | Piece Length 30 min

Espaço da Penha | 20 e 21 June | 18h40

Synopsis

In Loose Loop Leire sets herself in a circuit in which, through a mechanism of repetition, she explores the relationship between what is and what no longer is. While busy with  questions such as “Is there enough space in the present to include the past?”, “What do I see if I imagine and at the same time I look in order to remember?” she seeks to investigate on the plasticity of memory and its effect on action.

 

Credits

By and with Leire Aranberri (ES)

 

Short Bio

Leire Aranberri (Bilbao, Spain, 1993) is an artist who has studied medicine and works with the body in relation to both topics.

 

Acknowledgements

Forum Dança team, PACAP4 group, Christine de Smedt and Susana Talayero.

 

Image Credits Leire Aranberri

PACAP 4 Showings

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