Jean-Philippe Antoine and Leif Elggren
with Julie K Voss as the Muse
Mussel, Muse, Medusa
On the occasion of the 36th anniversary of the death of Marcel Broodthaers (1924–76), French art historian Jean-Philippe Antoine and Swedish artist Leif Elggren pay homage to one of the great artists of the second half of the 20th century. Mussel, Muse, Medusa takes as its starting point the gesture with which, in 1964, Broodthaers sells himself to the plastic arts by becoming a Pop artist, in order to reinstate its Mallarmé-inspired genealogy: the throw of the dice invented ‘the modern and contemporary space of art’, against the kitsch exaltation of Romanticism’s litany. At first conforming to the stable model of an academic conference, Mussel, Muse, Medusa gradually culminates in a spiritual concert.
The late 1990s saw the birth in Europe of a pervasive trend of ‘conceptual’ choreography championed by figures such as Jérôme Bel, Boris Charmatz, and Xavier Le Roy. This cluster of choreographers initiated an impressive interrogation of dance’s conventions and fostered a resolute deconstruction of their practice. With hindsight, their radical questioning of choreography’s presuppositions and processes offers an important rejoinder to the seminal experiments of the Judson Dance Theater in New York in the 1960s (Trisha Brown, Simone Forti, Robert Morris, Steve Paxton, and Yvonne Rainer). Both groups radically investigated the ontology of dance and addressed topics such as de-skilling, deconstruction, refusal of the ‘spectacle’, appropriation and the call into question of the authorship. However, although using similar means they pursue different ends. While Judson committed itself to a challenge of dance as a medium, one can observe in the 1990s ‘conceptual’ trend a shift in favour of interrogating the institution within which this medium operates. The fierce debate opposing German Literature Scholar Peter Bürger (Theorie der Avantgarde, 1974) and American Art Historian Hal Foster (The Return of the Real, 1996) on the reprise of ‘historical’ avant-garde’s strategies by the ‘neo-avant-garde’ offers invaluable insights to address the question of repetition in the field of performance’s history. In fact, Foster’s involvement with the psychoanalytical concept of ‘Nachträglichkeit’ leads him to provocatively ask ‘rather than cancel the project of the historical avant-garde, might the neo-avant-garde comprehend it for the first time?’ I will work through this debate with the help of French Psychoanalyst Jean Laplanche’s thesis on ‘Afterwardsness’ in order to articulate the trajectories of the Judson and the 1990s choreographers together.
Reversibility for RE / RE for Reversibility
The prologue to Reversibility took place in 2008 at the stall of the Fair Gallery (gb agency, Paris; Hollybush Gardens, London; Jan Mot, Brussels; Raster Gallery, Warsaw) during the Frieze Art Fair in London. It was further developed in a public institution in 2008 at the CAC Brétigny (the Centre d’art contemporain de Brétigny, France) and concluded in 2012 at Peep-Hole, in Milan, within the context of a private non-profit structure financed by donations from artists.
The actantial structure of Reversibility – A Theater of De-Creation in three parts takes the form of classical drama: exposition, climax and denouement. For each chapter, and among each group of works, a particular piece is specifically related to each setting (in turn, commercial, institutional and private) in a principle of functional and symbolic equivalence: Dos Espacios Modificados (1967/2008) by David Lamelas during the Frieze Art Fair in London; Floating Wall by Robert Breer at the Centre d’art contemporain de Brétigny, France; No Necesita Titulo (1990/2012) by Isidoro Valcárcel Medina for Peep-Hole, a non-profit art space in Milan.
How can ‘I’ become ‘Je’ and should I even try? Gina Pane’s ‘minor’ action
How can I hope to embody and live a past performance whilst maintaining its minority? This presentation focuses on ‘Je’, an action by Gina Pane which sits outside her best-known work and which has preoccupied me in my own writing and practice for some time. I usually turn to the writings of Jean-François Lyotard for an uncomfortable kind of support: his declaration that the work must force the body ‘beyond what it is and what it is able to do, beyond what we believe it is and is able to do’ challenges the risk of complacency as I ask how ‘I’ can become ‘Je’.
REC is a piece that speaks of recordings and slippages. But this performance is also a Training session, during which the aim is to teach the spectator how to become an audience. Based on concrete case studies, and with the aid of excercises on a 1:1 scale, a number of techniques will be presented allowing the spectator to broaden her/his room for maneuver.
Ludovic Burel and Ju Hyun Lee
The Mechanical Turk (or the Dwarf in the Machine)
a conference-performance of the Korean Vitra Museum (KVM)
The chess-playing automaton invented in 1769 by Baron Johann Wolfgang von Kempelem – and popularised after his death in Europe and the US by Johann Nepomuk Maelzel, the inventor of the metronome – is the inspiration behind E.T.A. Hoffmann’s short story ‘Automata’ and Edgar Allan Poe’s ‘Maelzel’s Chess Player’. The same automaton reappears, albeit briefly, in the crucial opening lines of Walter Benjamin’s ‘On the Concept of History’. Faithful to Benjamin’s dialectics of phantasmagoria and awakening, we offer a post-Marxist reading of the ‘Mechanical Turk’ based on the famous fourth part of Das Kapital‘s first chapter entitled ‘On the Fetish Character of Commodities’. Marx’s text will further guide our interpretion of the archive as a generative dance and performance score. What we propose through the Korean Vitra Museum is to identify the essential place design holds in our biopolitical society where ‘the body and pleasure are at the heart of political management’.
Mathieu Copeland — Lucas Bouissou — Joël Vacheron
Reprise 1 — Reprise 2 and Violence in Music
To “reprise” an exhibition can be seen as an attempt to envisage its memory, to re-insert it in reality, by using its catalogue as a score for another exhibition to be. Past realities are revisited and appropriated by the presentation of an entire ‘bootleg’ of an exhibition. To do so is to curate an exhibition without choosing any of the works. The original artworks are copied, their reproductions insisting on their equivalence to the original.
Talking about the principle of Reprise brought by Mathieu Copeland and its main adaptations (Reprise#1 and Reprise#2),
student and techno activist Lucas Bouissou, journalist and cultural theorist Joel Vacheron as well as independent curator Mathieu Copeland will start a conversation based on the idea of violence in music. The three of them will discuss the work initiated by a study for an exhibition of violence in contemporary music(available on reprise.me) and also debate the inner violence contained in every piece of sound by describing the mythological figure of Boutès, companion of Ulysses who jumped off the Argôs toward the Sirens’s singing.
Jacqueline Rose’s ‘She’, read by Will Holder (…for single mothers)
In conversation, artist Falke Pisano maintained that her performance is the private act of writing a script to be read publicly. Following the design of a book which attempts to document Pisano’s ongoing (de-)construction of the subject/object relations with the reader and/or listener, Will Holder vocally typesets a publication of Jacqueline Rose’s “She”. This is the sixth in an ongoing series of readings “…for single mothers”.
Projections by CS Leigh: I Was Jack Goldstein
Discussion on Philippe Thomas’ The Human Voice
In 2007-2008 I directed a series of performances titled“I Was Jack Goldstein” in which I played Jack Goldstein an artist I knew well in the eighties and early nineties in New York. I had not intended to play Jack though I found it was almost impossible to explain all that I know about Jack to any actor. The performances were intended as a prelude to a feature film in which I would certainly not play Jack or act in. Although I worked on the material for years I could never manage to figure the film out. Consequently I made this short one of only two shorts I have ever made using still images from those performances which were done in Paris and London. The film is photographed by Joachim Hoge and the original score is composed and performed by Thurston Moore. I am sure there is a feature film about Jack in my future.
Replica of Grinder Chess (1965) by Takako Saito, a practical case study
A replica is an exact reproduction executed by the original artist.
A replica is a copy closely resembling the original concerning its shape and appearance.
An inverted replica complements the original by filling its gaps.
Sometimes the original never existed.
Curated by Adrien Sina for RoseLee Goldberg’s Performa, Feminism Futures is an outstanding personal collection of photographs, manuscripts and ephemera related to early 20th-century women’s performances within the European and American avant-gardes. Beyond all the ‘isms’ initiated by male artists (Futurism, Expressionism, etc.), female artists were creating their own experiments as a reply to originary drives, rooted in the psychology of desire and the reconstruction of a feminine mythology which conferred upon them the political power they had lost. These so-called ‘minor’ histories are belied by the strength of their critical, radical, constructive or destructive positions. Theirs was a crucial role for the birth of performance as a new field, establishing for the first time the artist’s body in a conceptual action as a work of art.
Museum of Museum
(Stéphane Deplan, Éleonore Pano-Zavaroni, Jérémy Glatre)
MoM present Mobilier 1.0 : their working platform, a space containing the museum’s collection and its various activities.
Museum of Museum is a project initiated in 2009 by Stéphane DEPLAN and Eléonore Pano-Zavaroni, joined in 2010 by Jeremy Glatre.
Museum of Museum (MoM) is a museum about the museum, a space research: A museum about the circumstances that make art, a museum about the equipment surrounding the art, a museum visitor’s point of view.
MoM is organized into three areas: The collection of all that relates to the museum, ephemera, derivatives, but also the image of the museum, including advertising or film. Conservation, study of the collection and of museum itself. The public presentation of collected heritage, creations that make visible its research tools.
Each of the projects in which Mom embodies is a commitment to build a toolbox for the viewer: MoM invites to unframe, observe and analyze what surrounds the work and the viewer. How do you build his look, his trajectory as a spectator? How to introduce creativity where the eye slides?
site of museumofmuseum