Reflexiones de André Lepecki, Arts on the edge of moving en torno a la frontera entre las artes visuales y danza contemporánea, dentro de la collection de textos en SARMA

The moment performance and dance enter the realm of the visual arts, art becomes invaded by disappearance. It can start to comment on memory, amnesia and historicity. Hence, by acknowledging its perennial nature, and the perennial nature of living, the visual arts as a whole must let themselves become “degenerated” (to use Fried’s expression) by performance’s essence – the one of being always already vanishing. Like Mapplethorpe’s self-portraits; like Joseph Beuys’ deteriorating objects covered with fat or fur, painted in blood; like the sad repetitive machines of Rebecca Horn; or like Iana Sterbac’s Meat Dressdecaying in some museum.


Ensayo de Myriam Van Imschoot Rests in Pieces. On Scores, Notation and the Trace in Dance.

In her essay Archives. Performance Remains, performance theorist Rebecca Schneiderthoroughly questions the archival logic that operates in western culture. According to her, the archive is inscribed in our habits insofar as we understand ourselves in relation to the remains that we accumulate. The archive is “a utopian “operational field of projected total knowledge”” on the basis of which the law derives its authority to “command”. The archive is not only the guardian of professed “origins”, but also the guard who polices: its practice of conservation is also a matter of patriarchal conservatism. Its protective embrace of storing and housing is simultaneously a normative gesture of restoration with the force of an imperative.


Reflexiones de Hito Steyerl en torno a ¿Es el museo una fábrica?
La película La hora de los hornos (1968), un manifiesto del Tercer Cine contra el neocolonialismo, especificaba un brillante requisito para su proyección: la presencia, en cada exhibición, de un cartel colgado con la siguiente leyenda: “Todo espectador es un cobarde o un traidor”. Su intención era derribar las distinciones entre realizador y público, entre autor y productor y crear de ese modo una esfera de acción política. ¿Y dónde se exhibía esta película? En fábricas, por supuesto.
Hoy día, los films políticos ya no se proyectan en fábricas, sino en museos o en galerías, en los “espacios del arte”. Es decir, en cualquier clase de cubo blanco. 
¿Cómo ha sucedido esto? En primer lugar, la fábrica fordista tradicional ha desaparecido como tal en gran parte. 

Entrevista a Yael Bartana en torno a su proyecto 'Two minutes of Standstill'.

“Two Minutes of Standstill” aims to interrupt the daily life of the city of Cologne for two minutes. What is the idea behind this collective performance?

I was thinking about what it would mean to lend the ritual of the Yom HaShoa – the Israeli memorial day for the victims and heroes of the Holocaust – to Germany. Every year on this day sirens in public spaces sound all over Israel, and the whole country comes to a halt to observe two minutes of silence.
I have been exploring state and social rituals for many years in order to understand how they form national identity. The first work I made about this was Trembling Time (2001), a video about the Yom haZikaron, the Israeli Soldiers Memorial Day, which functions in practically the same way as the Holocaust Memorial Day. These rituals are national ceremonies and anchored in state law. In Trembling Time I tried to come to a more distant and at the same time more personal interpretation of this very emotionally charged ritual.

What does it mean for an individual – for me as a citizen of the state of Israel – to be raised with such collective rituals? How can one stay an individual and self-responsible within this situation?


Libro resultante del proceso > TWO MINUTES OF STANDSTILL

Florian Malzacher en torno a la figura del curador en el campo del performance contemporáneo. 

A job with unclear profile, goal and future.

Among the professions that are rather close to art or even right within it, but that are not artistic themselves – not directly artistic themselves – the curator has the youngest and most unclear profile. In the visual arts, where he became a star within a short time, he is standing in the midst of a controversy that is essentially driven by himself. In the field of dance, theatre and performance however, he is still rare and, above all, mostly unheeded. Which is all the more surprising since he has long played an influential role in independent performing arts, defining and organizing art, discourses, formats and finances.


Boris Charmatz > Manifiesto for a Dancing Museum

A National Choreographic Centre.

I am not losing my temper, I simply wish to propose removing the word “Centre”, then the word “Choreographic”, then the word “National”!
The word “Centre” in National Choreographic Centre is the result of an impressive public policy which has proved that the centre could be plural and multiply elsewhere than in the capital of France. And in order for this impetus to remain, a further emancipation must be expressed today: the question of centre and decentralization would then give way to a space where such issues would continue to surface only in traces.

The search for the “centre”… For a dancer, this word resonates physically first of all. Not so long ago, the dancer, when he was training, was systematically told to “find his centre”. But today, it is generally acknowledged that the body has no centre, and he doesn’t miss it. The body of modern times has no need for a centre, because that absent centre, the core which would enable one to feel reassured, isn’t there, has ceased to be there. For in the void of a body expropriated of its centre, there is room for dance.