Some performances
14/10/09 10:38 , Categories: Uncategorized 
"Some performances" is a film inspired by performances of the second half the 20th century. The process of emulation and inspiration is based upon some restrictions: as less objects as possible, natural light, same background. The actions are edited following the chronological order of the original performances. The film is split in two so that the audience always sees two moments of the entire video.
„The process was based on documents (video, photos or texts) of the events. We had to work with the available archives and sometimes improvise with pictures. There is always a revisitation, an alteration from the original. This alteration and especially the fact that each revisitation is performed in the same corner of the same non-distinct space, is a movement of displacement, de-contextualization. Taking away the specific context, when and where those performances were created and performed, we took away their original meaning, the intentions, the political connotations, the reference to the history and the geography of those "here and now". What is left is a "form". In particular we see two people performing some actions with few objects. The actions become then a list of possibilities: the history of a man and a woman, a sort of Adam and Eve and their relationship in and with the space.“
Performers/co-authors: Ondine Cloez, Michiel Reynaert
Camera/editing/author: Sara Manente
Thanks to Jan van den Hemel and Benjamin Albertijn for technical assistance.
the performances:
Bas Jan Ader
- fall I (1970)
Vito Acconci
- undertone (1972)
Marina Abramovic and Ulay
- light dark (1977)
- expansion in space (1977)
- relation in time (1977)
- relation in space 1976
- breathing in breathing out 77
- balance proof 77
- AAAA 77
- rythm 10 (1973)
Francys Alys
- la malinche (1997)
John Baldessarri
- I am making art (1971)
Matthew Barney
- drawing restraints 6 (1989)
Joseph Beuys
- I like America and America likes me (1974)
- shaving performance in "good morning, Mr. Orwell" (1984)
Vanessa Beecroft
- performance details (1996)
Alighiero e Boetti
- writing with both hands (1970)
Stuart Brisley
- moments of decisions/indecisions (1975)
Chris Burden
- through the night softly (1973)
- shoot (1971)
- 220 (1971)
Merce Cunningham
- antic meet (1958)
Jan Fabre
- Bic-art room (1980)
Gilbert and George
- singing sculpture (1973)
Anna Halprin
- parades and changes (1964)
- blank march protest (1967)
Mona Hatoum
- pull (1995)
Joan Jonas
- Left Side Right Side (1972)
Yves Klein
- anthropométries of the Blue Period (1960)
- signer le ciel (1960)
Yayoi Kusama
- Self Obliteration (1967)
Piero Manzoni
- living sculpture (1961)
Eliseo Mattiacci
- pensare il pensiero (1973)
Paul McCarthy
- sauce (1974)
Hidetoshi Nagasawa
- untitled (1972)
Bruce Nauman
- wall-floor positions (1968)
- walking in exageratted manner (1968-1969)
- bouncing in the corner (1968)
- thighing (1967)
- beckett walk (1968)
- walking with contrapposto (1968)
- untitled (performance project for leverkusen) (1969)
Yoko Ono
- four (1966)
- bed (1969)
Dennis Oppenheim
- parallel stress (1970)
- Two Stage Transfer Drawing (Advancing to a Future State) (1971)
Jeff Perkins
- shout (1966)
William Pope L
- Tompkins square crawl (1991)
La Ribot
- piezas distinguidas (1994-2000)
Klaus Rinke
- wand boden (1970)
Ketty La Rocca
- you-you (1972-1973)
Sachiko and Toshimaru
- no input (999-2000)
Richard Serra
- hand catching lead (1968)
Andy Warhol-
- sleep (1963)
- warhol and bowie (1971)
- eat a hamburger (1974)
Lawaai Means Hawaai
15/11/08 00:55 , Categories: Uncategorized And so is dance.
In "Lawaai Means Hawaai", pollution, echo, absorption, reflection, background have become key figures in the writing process, although not in a metaphorical or imitative way. Indeed, “Noise” has different definitions in acoustics, communication science and computing. So it is a concept that already goes far beyond acoustic. Here it creates a potential polyphony of realities, developing from a very concrete writing."
Choreography and performance: Ondine Cloez, Michiel Reynaert, Sara Manente
Music: Christophe Albertijn
Light/Set design: Jorge Dutor
Dramaturgy: Florent Delval
Costumes: Hadas Cna’ani
Production: eve vzw/asbl, Monty.
Co-production: WorkspaceBrussels, Beursschouwburg, and Flemish Community.
With the support of FabrikPotsdam, PACT Zollverein, WPZimmer and dePianofabriek
It means noise but to me it sounds like Hawaai”
Associaties als in deze uitspraak maken we elke dag. Het is de manier waarop we de wereld en de dingen waarnemen met onze zintuigen. Met “Lawaai means Hawaai” wil ik de focus leggen op de logica van perceptie en herkenning bij het publiek. Ik wil de blik van de toeschouwer uitdagen, zodat die voortdurend zijn/haar manier van kijken moet in vraag stellen.
Het vertrekpunt van het werk zal het concept “noise” zijn (Noise kan in het Engels zowel voor lawaai staan, als voor ruis en voor geluid in het algemeen). Voor mij is de idee van “noise”, of geluidsbesmetting, niet enkel een metafoor voor wat er op het podium gebeurt. Dit begrip functioneert eerder als een deur naar een potentiele “polyfonische realiteit”, uitgaande van een zeer concrete, geschreven vorm: een choreografie. Daarom juist ben ik geïnteresseerd in de polysemie van de term “noise”, zoals die opduikt in verschillende contexten, en het is precies die openheid die ik gebruik in het werkproces.
Onder de werktitel “Lawaai means Hawaai” moet een performance voor drie dansers ontstaan. De voorstelling is opgedeeld in segmenten, die elk ontwikkeld zijn naar analogie met een idee uit de akoestiek en het gedrag van geluid in de ruimte. De opeenvolging van scènes zet een aantal contrasterende modi naast mekaar, gaande van abstract naar concreet. De scènes geven elkaar betekenis en de contrasten nodigen het publiek uit zijn/haar positie als toeschouwer bij te stellen.
Lawaai Means Hawaai
15/11/08 00:31 , Categories: Uncategorized  |
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pictures by Karinne Van Goethem
The team:
Sara Manente studied classical and contemporary dance in her
home town, Spinea (Venezia), Bologna, Madrid and Brussels. She
graduated in Communication Sciences at the University of Bologna and
studied at the University of Antwerp as researcher in Dramaturgy for
Contemporary Dance. In 2006/2007 she attended the InSitu department,
site-specificness art, in the Royal Academy of Fine Arts in Antwerp. In
Brussels, she created and performed, together with Marcos Simoes, two
pieces: Palindrome and Eye in the sky. In 2006 she realized the project
Instructions, together with Kyung Ae Ro, Norberto Llopis Segarra,
Marcos Simoes, Santiago Ribelles Zorita and Christophe Albertijn. In
2007 she worked on a double project: the dance performance “this is my
last solo and it is called “Lawaai” and the video “Lawaai”. She is now
attending the post-degree in performing arts, APT-Popok, in Antwerp.
Ondine Cloez
She started to study ballet in the conservatory of Grenoble. Then she
studied in PARTS three years. In 2002 she participated at ex.e.r.ce, in
the choregraphic center of Montpellier. Since then, she worked as
assistant with Ayelen Parolin, Nada Gambier and as dancer with Laurent
Pichaud, Mathilde Monnier, Linda Samaraweerova, Rémy Héritier, Julien
Chevy et Julie Darribère, Loïc Touzé, Randy Carreño.
Michiel Reynaert
Michiel is a maker and interpretor in the field of performing arts. After
graduating in Mathematics from the K.U.Leuven he studied dance at SEAD
in Salzburg. He has worked for artists such as Kendell Geers, Heine
Avdal, Joao Fiadeiro, … He has made and performed work in Brussels,
Tel-Aviv, Paris, Salzburg,… He’s currently involved in the core of
Echo.Base, a new werkplaats for arts in the center of Antwerp.
Christophe Albertijn
Christophe was a founding member of the improvised music group Bateau Lavoir, before he studied Documentary film at Sint Lukas, Brussels and Electro-acoustic Music composition with Joris De Laet at the Royal Conservatory of Antwerp. He performed solo live electronics and guitar in North Six (Brooklyn), The Warehouse (Washington), Worm (Rotterdam), Centre civic can Filipa (Barcelona) and as a collaborator at De Singel (de nachten/ Antwerpen), STEIM (Amsterdam).
A recording of a duo with drummer Thomas Campaert was produced in 2007.
He has worked with dancers Uiko Watanabe, Sara Manente and Marcos Simoes, composing and performing music for their work.
He currently lives in Antwerp, where he works as a recording engineer and music producer.
Florent Delval
Florent studied cinema and french litterature. He shot documentaries films before discovering theater and then dance which he studied through workshops (La Ribot, Benoit Lachambre, Emil Hrvatin etc). He worked briefly as an interpret (Joao Fiadeiro…) before starting his own work which was shown in theater spaces (Mousonturm, Frankfurt…) or art spaces (Immanence, Betonsalon, Paris…). Now he’s mostly working as a dramaturg (Tiago Guedes, Anne Juren, Ben Benaouisse, Carlos Pez, Lucie Eidenbenz, Kim-Lien Desault, Tea Tupajic etc…) or as a critic (Mouvement, Obscena, Flux News, Accrochages, ART21, Maska, Théâtre Magazine). He’s also curating exhibitions.
democratic forest
Link: http://www.democraticforest.com
a curant project of Sarah Manente and Alessandra Bergamaschi
democratic forest /dɛməˈkrætɪkfawr-ist/ by Constanze Schellow
democratic (—>) forest (—>) is an artistic research in
progress. It examines different kinds of collectivities and the ways
they constitute, organize (—>), dissolve. How do they resist and
attract the analytic gaze? How can patterns, movements and behaviors
(—>) of crowds, masses, communities or multitudes be observed,
documented or read? If we look (—>) at them or even engage ourselves
physically in their seemingly (—>) self-contained logic, how does
this challenge the way we normally treat them as theoretical concepts -
as if they existed clearly separable from one another?
democratic forest approaches this question in different media and
formats that range from choreography (—>) to photography, drawing,
text or video and from studio work to book (—>) publications to
field (—>) research to exhibitions. Traces of all this different
entrances into the project can be found on this site. We invite you to
find your own path through the growing Democratic Forest of material
where getting lost (—>) and having to seek for positioning and
orientation means to share one of the most productive strategies we use
in building the project.
01/03/08 11:08 , Categories: Uncategorized this is my last solo and it is called “Lawaai”
sara manente
But I am interested in “noise” as one term with many different definitions itself:
Noise has different definitions according to different theories. According to the theory of communication, noise is disturbing data considered to be information, while for computing it is not to be considered as information, but rather as a mistake. In acoustics, noise is identified with colours.
The performance has already been performed in Rotterdam, Antwerp and Brussels. It is aimed to be a work constantly in process and indeed it changes at any presentation according to the space and the interest concerning the theme.
“The suggestion of a flat image ignores the notion of space, but yet cannot exist without its environment. A reduction of real space to a two dimensional space is found in drawing as well as in photography. In both cases a notion of space is experienced, although not existing. The light projection works against the conventions of how we interpret space. Because three dimensionality can be articulated within its own system it can also be minimalized through the same system. When two images are combined, one in which space is limited, and one which is space itself, the experience of flatness or the experience of spatiality becomes a matter of focus. As in drawing and photography the subjectivity of the image is connected to a fixed point within space. The light projection can be read as a segment of the environment as the environment is pronounced more clearly as a vivid space”.
Lieve Sysmans about compositie licht 3 for “this is my last solo and it called “Lawaai”
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