IF
I
CAN’T
DANCE,
IF
I
CAN’T
DANCE,
I DON’T WANT TO BE PART OF YOUR REVOLUTION
 

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution offers a range of educational programmes to create opportunities for artists to develop pedagogical projects, and for participants to learn through in-depth engagement with an artist’s practice and modes of production. If I Can’t Dance also produces educational programmes and collaborations with partner educational institutions to facilitate this process. On invitation, If I Can’t Dance delivers workshops tailored to educational institutions and interested groups in the Netherlands and abroad with artists we work with or our curatorial team.


The core of our work is the long-term development, production, and presentation of commissioned productions with artists, curators, and researchers. The current productions follow an individual trajectory of development and presentation during the coming months, and this programme coalesces around the field of inquiry Ritual and Display led by fellow Giulia Damiani.

     To introduce the new 2019–20 program, the artists, researchers, and fellow present their productions currently underway during a two-day public gathering:


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Artists A–Z description Fusce bibendum lorem et metus pulvinar auctor. Quisque molestie nec diam et consequat. Quisque sapien libero, posuere quis leo non, pulvinar tincidunt neque. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Aliquam in eleifend lorem. Nulla facilisi. Donec laoreet massa non mauris tincidunt, a cursus ante posuere. Sed porta mauris et quam tincidunt vulputate. Aenean congue dolor sagittis consectetur lobortis. Integer purus dui, pretium sed dui sit amet, malesuada aliquet nulla.


2019–20
Commissions
Pauline Curnier Jardin

Qu’un sang impur, introduction

Screening
Saturday 26 October 2019, 15hr

Within the commissions series Pauline Curnier Jardin makes her first feature film, extending her interest in rituals that accompany life phases. During the introductory weekend she presents her ideas for the new commission with us, and screens her latest movie, part of the feature film trajectory, Qu’un sang impur.

 

Introductions at:

Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

MPA

Liveness, introduction

Performance
Saturday 26 October 2019, 14hr

“I want to create a moment, call it a performance, where we cut through the bullshit and lick the wounds of empire and shoot com-passions to the back doors of enemies. I want to believe that this moment will move you which is move me to levitate. Like saints and shamans and magic makers, I want us the colonizers and the colonized and the mutants in-between to expire empire by driving forcefields on psychic highways to change the game (which is no game at all) of cages and prisons. Spinning around we will sound no alarms but move to disarm the deceptions clinging to our hearts. “they” told us to disbelieve in love.

 

Gambling the gifts from spirits, Truths were murdered, and then called myth. Resilience looks like “reply silence”. I want to create a moment where we hear our silent answers. You that drive this curse know no prayers. No need to explain any of this through science (yet). Love is universal as in lawful…taking flesh of flesh for proceed is human made. Contact with the belly of heaven, and wheel me to the clay of creation. This text cannot edit and fails credit. No buying time. Time is spent. War time is no time, but all the time. I suggest we bend this blind time with enlightened minds.”

Within the commissions series MPA creates a new theatre performance in which she focuses on telepathic techniques to move matter. As part of the weekend introducing the new 2019-20 program, MPA presents a performance.

 

Introductions at:
Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

Sands Murray-Wassink

Up To And Including

His Limits, introduction

Performance
Saturday 26 2019, 15hr

I am doing it because I feel insignificant. And I don’t agree with patriarchal logic which says that insecure people overcompensate with outrageous behavior. Or I would say that this patriarchal logic should be seen through a feminist lens. Carolee Schneemann did not have a permanent teaching job or advisory position her whole life and it was because she was never complacent toeing the line. And she didn’t strive to not toe the line, she did intuitively and fiercely what she thought was necessary in the face of total denial and came up trumps. She’s one for the Istory books now. Like Virginia. I want to be nature to women’s culture. I want to cul-tivate. My studio archiving and sorting and organizing and optimizing is an attempt at a skeleton. A profeminist painter’s skeleton. I am 45 years of desiring meat, blood, flesh. I come from the margins. Nice to meet you.

Within the commissions series Sands Murray-Wassink digs, orders, and archives the full inventory of his studio as a durational performance over a period of one year. This will take place in a studio at the Rijksakademie from October 2019 to October 2020 accompanied by a program of public events.

 

Sands will speak about key elements in his practice in relation to this new performance, taking stock of his studio.

 

Introductions at:

Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

Research projects
Derrais Carter

Black Revelry, introduction

Lecture
Sunday 27 October 2019, 15hr

Derrais Carter will give an introduction to his research project, examining the 1970s painting Sugar Shack by Ernie Barnes as a rhizome for exploring black intimacy.

 

Introductions at:

Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

Sara Giannini

Maquillage as Meditation. Dis-identity, ecstasy and the feminine in Carmelo Bene’s performance philosophy, introduction

Lecture
Sunday 27 October 2019, 12hr

Sara Giannini will give an introduction to her research project, looking into the complex ways in which the actor, author, director, and public persona Carmelo Bene (1937–2002) rethought the stage beyond the fictional realm as a philosophical space.

 

Introductions at:

Not Yet Shebang

Hettenheuvelweg 16, 1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

Lisa Robertson

wide rime, introduction

Lecture
Sunday 27 October 2019, 12hr

Lisa Robertson will give an introduction on her ongoing research project wide rime, on the innovation and cultural movements of rhyme in medieval troubadour poetry.

 

Introductions at

Not Yet Shebang

Hettenheuvelweg 16

1101 BN Amsterdam

The Netherlands

 

Full weekend programme

 

Free/reservation required via office@ificantdance.org

Ritual and Display
Radio Emma

Gathering

Radio
Wednesday 28 November 2018, 13–14hr

Gathering: a movement of bodies coming together around a common goal. Whether it be for festive, spiritual, or political reasons, bodies that congregate signify in ways that extend beyond the discursive. This Radio Emma look at gathering and asks, if bodily vulnerability is part of resistance, how can this build grounds for new forms of embodied political intervention and modes of alliance that are characterized by interdependence? 


Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to JaJaJaNeNeNe

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution

Westerdok 606-608, 1013 BV Amsterdam 

The Netherlands

 

Free, no reservations required

Care

Radio
Wednesday 21 November 2018, 13–14hr

Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to JaJaJaNeNeNe

The dwindling of social welfare structures that has occured within neoliberalism has shifted structures of care away from collective responsibility. This Radio Emma looks for ways to (re)build relations of care. How can we perform caring gestures that begin from the sensorial, feeling, touching, listening, looking in ways that caress, reach out, search for ethical relations to the self and others? Can an ethics of care forged at a sensorial level be the grounds for an ethics that could reorganize the social?

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution

Westerdok 606-608, 1013 BV Amsterdam

The Netherlands

 

Free, no reservations required

Embodiment

Radio
Wednesday 14 November 2018, 13–14hr

When we think about social movement we tend to think of protests and manifestations, forms of collective action that aim for socio-political change. However bodies also move in social ways. This Radio Emma looks at how the body’s performance ties the individual to the social, the micro to the macro, and seeks to address the concepts of embodiment and social movement.

 

With guests Pascal Gatzen, designer and head of MA Fashion Design, ArtEZ; Gregory Lennon, yoga teacher; and AnnaMaria Pinaka, visual artist


Acknowledgements
Host: Miriam Wistreich
Technician: Leroy Chaar
Jingle: Radna Rumping
 
With thanks to JaJaJaNeNeNe

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution 

Westerdok 606-608, 1013 BV Amsterdam

The Netherlands

 

Free, no reservations required

Reading Group
xxx
xxx
xxx
Symposium
xxx
xxx
xxx
Bachelor course
SNDO, Course 18/19

Since 2015, If I Can’t Dance collaborates with the School for New Dance Development (SNDO) on the course “Curating and Performance”, which explores curating within the performing arts field. Across various years of SNDO’s bachelor’s degree programme, the course offers students both theoretical and practical instruction in order to think through how they shape their own artistic work in relationship to the curatorial structures and contexts they choose to create, engage with, or respond to. atd.ahk.nl/en/dance-programmes/sndo

Curating and Performance

Course
May 19

Curating and Performance

Course
April 19
Master course
Dutch Art Institute, Course 18/19

Since 2008 If I Can’t Dance collaborates with the Dutch Art Institute (DAI) on its MA programme. In these courses, artists collaborate with If I Can’t Dance’s curators and lead the workshop from the position of their own performance practices towards the development of an artistic project by the students. dutchartinstitute.eu

The Immemorial Body: act 9

Performance
July 2019

The Immemorial Body: act 8

Workshop
June 2019

The Immemorial Body: act 7

Workshop
May 2019

The Immemorial Body: act 6

Workshop
April 2019
Summer school
Summer school Jeremiah Day

Title Summer School, day 4

Summer school
8 May 2020

Title Summer School, day 3

Summer school
8 april 2020

Title Summer School, day 2

Summer school
8 March 2020

Title Summer School, day 1

Summer school
8 February 2020

Title Summer School, introduction

introduction
8 January 2020
2017–18
Commissions
Mounira Al Solh

(b. 1978, Beirut. Lives in Beirut and Zutphen, NL) traces the movement of stories to reflect upon her personal history and those of the people she encounters in order to consider how social and political themes are grounded in daily life; here, she creates a new experimental documentary in collaboration with four women affected by the Syrian war.

Who would spray that?

Screening
Tuesday 4 December 2018, 19–21.30hr

An avant-première of a new experimental documentary, introduced with live music and accompanied by a Syrian banquet.

 

The artist spent 24 hours with four women—Rogine, Waad, Hanin, and Zeina—in the cities to which they relocated from Lebanon and Syria. Together, they made a documentary that follows personal discussions, people, and the places related to these women. They ask questions like: is exile a choice or an accident, and are they even in exile? What is being home anyway? How do we behave in our new countries? How does the abuse of the word “refugees” affect us? What does singing mean for Rogine now that she lives in Zutphen? How does Hanin take part in international political life while based in Washington DC with her son? How does Waad in Oslo use rich body language to share her visions rather than speak about the personal and the political? How does Zeina go on with all her family now recently relocated to Sharjah?

 

col, English and Arabic with English subtitles


Acknowledgements

Co-commissioned by Sharjah Art Foundation

 

Featuring: Waad Amer, Hanin Ghaddar, Rogine Hassan, Zeina Mansour with Abdallah Ali Alsayed, Ali Ali Alsayed, Fatat Ali Alsayed, Nouran Breem, Ramy Ghanem, Tone Hansen, Dalshad Hassan, Bilal Khbeiz, Nabil Mohammad, Nader Omid, Nabeeh Semaan, Mounira Al Solh, Hussein Tabarai, Siddhi Tettero, Ronald Verweij

 

Camera: Ben Gerards, Frida Marzouk, Temra Pavlovic, Mounira Al Solh

 

Sound: Kristian Dmitri, Bodil Furu, Tumelo Maesela, Mounira Al Solh

 

Producer: Frédérique Bergholtz

ZID Theatre

De Roos van Dekamaweg 1, 1061 HR Amsterdam

The Netherlands

 

€12,50 adults / €10 students

(includes meal)


Get tickets

Four Letters in the Postbox

Screening
Tuesday 4 December 2018, 19–21.30hr

This documentary follows the personal discussions, people and places related to four women originally from Lebanon and Syria—Waad, Hanin, Rogine and Zeina. In their new cities, they face questions about the meaning of their cultures, family and political visions. Is exile a choice or an accident? What is home? How to behave in our new countries? Does the abuse of the word ‘refugees’ affect us?

 

Avant-premièrewith Syrian banquet by Aleppo Kitchen, and a music performance by Rogine Hassan.

 

col, English and Arabic with English subtitles

ZID Theatre
De Roos van Dekamaweg 1, 1061 HR Amsterdam
The Netherlands

 

€12,50 adults / €10 students
(includes meal)

à la santé des alliés

Screening
Friday 15 December 2017, 16hr

The film, whose title translates as ‘to the health of allies’, narrates layers of parallel events in Lebanon and Syria during the pan-Arab Nasserite movement of the 1950s and 60s. Made from 2003–16 and told from the different perspective of the artist’s relatives, opinions and recollections of the same incidents begin to contradict each other, mixing personal and political events to reveal time as three-dimensional rather than linear.


Read more

Mounira Al Solh (b. 1978, Beirut. Lives in Beirut and Zutphen, NL) traces the movement of stories to reflect upon her personal history and those of the people she encounters in order to consider how social and political themes are grounded in daily life.

 

As one of four artists commissioned to produce new work for VII (2017–18), Mounira Al Solh furthers her interest in biography and oral histories as a means to think through the Lebanese Civil War and the contemporary Syrian Civil War, employing diverse mediums—video, performative gestures, painting and embroidery—to do so.

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

€5 adults / students

Myriam Lefkowitz

(b. 1980, Paris. Lives in Paris) creates conditions for augmented perceptive experiences that favour attention, trust, and the negotiation of emotions and relations; she designs a new “choreographic tool” over a series of workshops.

La Bibliothèque

Susan Gibb

This essay provides an account of Myriam Lefkowitz’La Bibliothèque by Susan Gibb, presented in the Library of the University of Amsterdam from 22–28 November 2018.

read more

Design: Will Holder

ISBN 9789492139146

 

Digital version: PDF

Print version: 15 pp., 10,5 x 15 cm, saddle-stitched, English, 2019

 

Download


€5

add to cart

How Can One Know in Such Darkness?

Performance
Saturday 24 November 2018

with Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, and Zoe Scoglio

 

For one day, during library opening hours, beholders are ushered into a hall and invited to lie down, close their eyes, and become immersed in a collective tactile experience. Surrounded by blankets, pillows, different kinds of fabric, stones, and other objects, performers weave a non-verbal narrative between bodies using touch and sound. Through this, what the beholder feels and imagines, the states of sleep and wakefulness, are blurred to enable a different regime of images to appear. Each session can accommodate ten beholders who are welcome to stay and watch the next session.


Acknowledgements

Developed in partnership with La Ferme du Buisson, Noisiel through Corpus, an international network for performance-related work and with La Galerie, centre d’art contemporain, Noisy-le-Sec, and presented in collaboration with the Art History Department and Library of the University of Amsterdam

 

Originally conceived by Jean Philippe Derail, Julie Laporte, and Myriam Lefkowitz

9–10.30hr

10.30–12hr

13.30–15hr

15–16.30hr

16.30–18hr

University of Amsterdam Library

Singel 425, 1012 WP Amsterdam

The Netherlands

 

€10


Get tickets

La Bibliothèque

Performance
Thursday 22 November 2018
Friday 23 November 2018
Monday 26 November 2018
Tuesday 27 November 2018
Wednesday 28 November 2018

with Lendl Barcelos, Alkis Hadjandreou, Annick Kleizen, and Zoe Scoglio

 

La Bibliothèque is an art project that questions the usual patterns of attention. Across five days, five performers intermingle in the daily life of the University of Amsterdam Library, each guiding a single beholder at a time through a series of “attention devices”: a walk with closed eyes, a nap augmented by the subtle touch of objects, textiles and sounds, and a reading practice that addresses the entire body as a site for understanding.


Acknowledgements

Co-produced by La Ferme du Buisson, Noisiel in the frame of Corpus, an international network for performance-related work, and presented in collaboration with the Art History Department and Library of the University of Amsterdam

 

La Bibliothèque is conceived in lineage with La Piscine, a project performed at a swimming pool and created by Lendl Barcelos, Jean Philippe Derail, Valentina Desideri, Ben Evans, Alkis Hadjandreou, Julie Laporte, Géraldine Longueville, Florian Richaud, Simon Ripoll-Hurier, Clara Valière, and Yasmine Youcef

10.30–12hr

13–14.30hr

15–16.30hr

University of Amsterdam Library

Singel 425, 1012 WP Amsterdam

The Netherlands

 

€10


Get tickets

The Book Club: A Space for Collective Study and Experimentation

Reading Group
Saturday 7 July 2018, 12–18hr

Commencing at Vondelpark, followed by a bike ride to a cabin in the Amsterdamse Bos, this session explores forms of collective reading and study that address the body as a space of understanding. The proposed series of actions and gestures question the distinction between body and mind, theory and practice. They seek ways to relate concepts with sensations, affects, perceptions, images, memories, objects, rhythms and space, providing resources to unfold news modes of reading.

If I Can’t Dance

Westerdok 606–608, 1013 BV Amsterdam

The Netherlands

 

Free, reservations required

Practising Attention

Workshop
Monday 5 February 2018, 10–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

 

Participants are asked to bring a text they consider feminist and an object or fabric with interesting tactile or sound properties.

Podium Mozaïek
Bos en Lommerweg 191, 1055 DT Amsterdam
The Netherlands

 

Free, reservations required

Practising Attention

Workshop
Wednesday 13 December 2017, 10–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

Centro Municipal de San Francisco
Plaza Corazón de María s/n, 48003 Bilbao
Spain

 

Free, reservations required

Practising Attention

Workshop
Friday 17 November 2017, 14–18hr

An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?

 

Participants are asked to bring a text they consider feminist and an object or fabric with interesting tactile or sound properties.

Huiskamer van de Buurt de Tagerijn
Balboastraat 18, 1057 VW Amsterdam
The Netherlands

 

Free, reservations required

How can one know in such darkness?

Performance
Saturday 28 October 2017, 14hr

One of a series of public meetings putting into practice the research about attention, sensation and perception conducted during her three-month residency at La Ferme du Buisson. Through various immersive devices that provoke encounters between choreographic artists and spectators, Lefkowitz creates the conditions for an increased perceptual experience through the use of gaze, touch, walking and liminal states between sleep and waking.


Read more

Myriam Lefkowitz (b. 1980, Paris. Lives in Paris) creates conditions for augmented perceptive experiences that favour attention, trust and the negotiation of emotions and relations; she designs a new ‘choreographic tool’ over a series of workshops.

 

As one of four artists commissioned to produce new work for VII (2017–18), Myriam Lefkowitz designs a new situation in public space in Amsterdam. She establishes a collaborative context—gatherings of artists, students, social workers, researchers, healers, activists, for example—for the transmission and dissemination of their respective tools.

La Ferme du Buisson
Allée de la Ferme, 77186 Noisiel
France

 

Free

Charlotte Prodger

(b.1974, Bournemouth, UK. Lives in Glasgow) works with sculpture, writing, and moving image of which its ever-evolving formats are inextricably bound to the autobiographical content of her work. Her recent videos set up complex tensions between the body, landscape, identity, and time. This new single-channel film that explores what happens to the coded signifiers of queer bodies within uninhabited wildernesses.

SaF05

Exhibition
11 May – 24 November 2019

SaF05, Charlotte Prodger’s newest single channel video, draws upon multiple sources – archival, scientific and diaristic – and combines footage from a number of geographical locations (the Scottish Highlands, the Great Basin Desert, the Okavango Delta and the Ionian Islands). 

 

SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal is the last of several maned lionesses documented in the Okavango Delta and is only known to Prodger through a database of behaviours and camera-trap footage logged across several years. 

 

These indexes of SaF05’s existence are intersected with autobiographical fragments from Prodger’s own life that fluctuate between proximity and distance. Much of Prodger’s work looks at subjectivity, self-determination and queerness. SaF05 is the last in a trilogy of videos that began with Stoneymollan Trail (2015) and was followed by BRIDGIT (2016). This autobiographical cycle traces the accumulation of affinities, desires and losses that form a self as it moves forward in time. 

 

39 min, col, English


Acknowledgements

SaF05, single-channel video, is produced by Scotland + Venice in partnership with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution with additional support from Charlotte Prodger Supporters Circle, Elephant Trust, Hollybush Gardens, Koppe Astner, Mercer Union Toronto, Stedelijk Museum Amsterdam. 

 

SaF05, the exhibition, has been commissioned by the Scotland + Venice partnership with funding support from the National Lottery through Creative Scotland, and is curated by Linsey Young with Cove Park.  

 

On its return to Scotland the work will tour the Highlands and Islands while If I Can’t Dance will lead an international tour of the work to the Stedelijk Museum Amsterdam and Mercer Union Toronto.

The 58th International Art Exhibition – La Biennale di Venezia

Presented at:
Arsenale Docks,

San Pietro di Castello, 40

30122 Venice, Italy

 

More information and tickets

Passing as a Great Grey Owl

Screening
Thursday 8 November – Tuesday 4 December 2018, 14–18hr

In Passing as a Great Grey Owl (2017), found footage of a female biologist mimicking the call of the male great grey owl is counterposed with video of women’s legs as they urinate in various wildernesses. The collision of these activities in landscape points to an exuberant queer territoriality. This video work includes a passage from “I am (for The Birds)”, the final text in the book Here is Information. Mobilise: Selected Writings (2016) by the late artist and curator Ian White.

 

6 min, col, English


Acknowledgements

Courtesy LUX Scotland

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution 

Westerdok 606-608, 1013 BV Amsterdam 

The Netherlands

 

Free, no reservations required`

BRIDGIT and LHB, with other videos

Screening
Saturday 14 October 2017, 14hr

The videos BRIDGIT(2016) and LHB(2017) will be shown alongside works that have been influential to her practice and thinking around ‘queer wildernesses’: Dani Leventhal and Jared Buckhiester’s Hard As Opal (2015) and Jonathan Rattner’s The Interior (2016). They enquire into queer life in the densely-populated urban contexts that dominate popular LGBTQI narratives. A sunset walk through Bergen aan Zee’s dune landscape to the North Sea follows the screening.


Read more

Charlotte Prodger (b. 1974, Bournemouth. Lives in Glasgow) explores the intertwining of landscape, bodies, technology and language; she is developing a work that investigates what happens to the coded signifiers of queer bodies in uninhabited wildernesses.

Filmtheater Cinebergen
Eeuwigelaan 7, 1861 CL Bergen
The Netherlands

 

€15 adults / students
(includes free bus service, reservations required)

keyon gaskin

prefers not to contextualize their art with their credentials.

NASHA

d.a. carter

This essay provides an account of keyon gaskin’s NASHAby d.a. carter, presented at Bijlmer Parktheater in Amsterdam on 30 November 2018.

read more

Design: Will Holder

ISBN 9789492139139

 

Digital version: PDF

Print version: 24 pp., 10,5 x 15 cm, saddle-stitched, English, 2019

 

Download


€5

add to cart

NASHA

Performance
Friday 30 November 2018, 18.15–22.30hr

A gathering of three performances with keyon gaskin and friends. NASHA is an attempt at being less lonely when travelling, named after the artist’s little sister. It centres on and values black sociality, and resists creating something “new” through stipulation, giving context through experience.


Acknowledgements
Dead Thoroughbred 
in collaboration with sidony oneal 
 
the multifarious nature of care
with Adee Roberson (Tropic Green)
 
[a swatch of lavender]: a self portrait
performed by local artists
 
Samiya Bashir
Field Theories (2017)
6 videos, approx 1 min 30 sec each, col, English
Movement: keyon gaskin
Camera and edit: Roland Dahwen / Patua Films 

Bijlmer Parktheater

Anton de Komplein 240, 1102 DR Amsterdam

The Netherlands

 

€15 adults / €12,50 students

(includes meal)


Get tickets

King’s Day Protest

Screening
Friday 30 November 2018, 17.45hr

A new video work broadcast on the public screen at Amsterdam Bijlmer ArenA train station.

 

6  min, col.           


Acknowledgements

Performers: Emma Nantermoz, Neda Rujeva, Julia Sara Vavra, Karina Villafan

Camera: Temra Pavlovic

Edit: Temra Pavlovic & keyon gaskin

 

With special thanks to SNDO – School for New Dance Development

Amsterdam Bijlmer ArenA

1101 BE Amsterdam, The Netherlands

 

Free, no reservations required

this is a performance.

you are a community.

you are my material.

this is a prison.

leave when you want.

Performance
Friday 28 September 2018, 19.30hr

On residency in Amsterdam to further develop their new work commission, keyon gaskin presents a performance that, as Litia Perta writes, is ‘less about a whole picture – a total or totalizing knowledge – than it is about intimacy, failure to see, nearness that obstructs rather than clarifies … this work unsettles, undoes, asks what it means, looks like, feels like, to come undone, to see only fragments, to have little or no context.’

FLAM – Forum for Live Art Amsterdam at Arti et Amicitiae
Rokin 112, 1012 LB Amsterdam
The Netherlands

 

€7,50 adults / students

its not a thing

Performance
Thursday 21 and Friday 22 September 2017, 19hr

Writer Jamie Hale has reflected on this work in The Oregonian: ‘… no matter how hard keyon gaskin tries to make the performance not a thing, its not a thingis somehow the most captivating thing in town.’

 

keyon gaskin prefers not to contextualise their art with their credentials.


Read more

As one of four artists commissioned to produce new work for VII (2017–18), keyon gaskincreates a number of new performances that trouble the discipline’s form, institutions and conventions by investing in the gaps they find within these, and by pursuing the potentials of gathering.

Dansmakers Podium
Gedempt Hamerkanaal 203, 1021 KP Amsterdam
The Netherlands

 

€7,50 adults / €5 students

Research projects
Rhea Anastas

(b. 1969, Gloucester. Lives in Los Angeles) is an art historian, critic, and curator; she initiates a study of artist and philosopher Adrian Piper’s work Some Reflective Surfaces(1975–76) in which Piper appears as a disco dancer in modified Mythic Being guise with narration and film, performing for the first time in formal terms for an art audience.

“What You Know from How I Move”: excerpts from viewing and researching Adrian Piper’s Some Reflective Surfaces (1975–76), the audience-orientated performance at the Whitney Museum of American Art, New York, 28 February 1976 in the exhibition Adrian Piper: A Synthesis of Intuitions, 1965–2016

Reading with audience discussion
Thursday 29 November 2018, 19–20.30hr

Piper created this version of Some Reflective Surfaceson a stage at the Whitney Museum of American Art in New York on February 28, 1976 as part of a multi-day programme of live pieces commissioned by the Whitney from figures active in New York’s downtown experimentalism circles. Rhea Anastas will read excerpts of her writing from a research period spanning from the summer of 2017 to the present. In 2018, Piper’s exhibitions Adrian Piper: A Synthesis of Intuitions, 1965–2016 and Adrian Piper: Concepts and Intuitions, 1965– 2016 were staged. These museum surveys, the largest of Piper’s career, with works from public and private collections around the world, were generated out of a four-year-long collaboration between Piper; the Museum of Modern Art, New York; and the Hammer Museum, Los Angeles. Anastas’s talk explores parallels between some specific intersubjective dynamics within the watching and being-watched of Some Reflective Surfaces, as well as the spacing mechanisms (in time, context, and conditions) that are entailed in apprehending and reflecting on this work.


Acknowledgements

Presented in collaboration with the University of Amsterdam’s Art History Department. Special thanks to APRA Foundation Berlin (Adrian Piper Research Archive Foundation Berlin)

University of Amsterdam Auditorium

Oudemanhuispoort 4-6, 1012 CN Amsterdam

The Netherlands

 

€5


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Research on Adrian Piper

Screening
Saturday 23 September 2017, 15–16.30hr

With narration and film, Anastas introduces her study of artist and philosopher Adrian Piper’s Some Reflective Surfaces (1975–1976). In this piece, Piper appears as a disco dancer in modified Mythic Being guise, performing for the first time in formal terms for an art audience. Additionally, two other works by Piper are screened: Aspects of the Liberal Dilemma(1978) and It’s Just Art (1980).


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Rhea Anastas (b. 1969, Gloucester, MA. Lives in Los Angeles) is an art historian, cofounder of Orchard and Associate Professor in the Department of Art at University of California, Irvine; she initiates a study of the artist and philosopher Adrian Piper’s work Some Reflective Surfaces(1975–76).

If I Can’t Dance
Westerdok 606–608, 1013 BV Amsterdam
The Netherlands

 

Free

Nataša Petrešin-Bachelez

(b. 1976, Ljubljana. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist, and author of several videos, Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris), including her unfinished film Calamity on American frontierswoman Calamity Jane’s published letters to her daughter.

Defiant Muse: Delphine Seyrig (DAY II)

Lecture
Sunday 2 December 2018, 11.30–16hr

Writer and curator Nataša Petrešin-Bachelez and art historian Giovanna Zapperi introduce their larger 2019–20 exhibition project on Delphine Seyrig at Musée d’art moderne, d’art contemporain et d’art brut, Lille and Museo Nacional Centro de Arte Reina Sofía, Madrid. Videos, artworks, and public and personal archives appear in non-linear order in the exhibition whose themes take up the Seyrig’s critical engagement with countering normativity, disobedient practices, transnational struggles, and research into anti-psychiatric movement.

 

Afterward Petrešin-Bachelez elaborates on her research into Seyrig’s unrealized black-and-white silent feature film Calamity based on letters allegedly written by American frontierswoman Calamity Jane to her daughter (first edited by Jean Hickok McCormick in 1949). During production in the late 1970s, Seyrig first involved filmmaker Babette Mangolte to film research footage in Billings, Montana and later, among others, poet and painter Etel Adnan to produce a text. In this film Seyrig wished to explore the mother-daughter relationship, undergirded by her long-term interest in American culture and arts.

Veem House for Performance

Van Diemenstraat 408-410, 1013 CR Amsterdam

The Netherlands

 

€12 adults / €7 students

 

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Defiant Muse: Delphine Seyrig (DAY I)

Screening
Saturday 1 December 2018, 20–23hr

An evening with two films by Delphine Seyrig and collaborators

 

Maso et Miso vont en bateau
(Maso and Miso Go Boating) (1976)

Feminist video collective Les Insoumuses (Nadja Ringart, Carole Roussopoulos, Delphine Seyrig, and Ioana Wieder) responds to comments by French Secretary of State for the Status of Women, Françoise Giroud after the 1975 International Women’s Year celebrations. Appropriating and editing the broadcasted material into a parody, this detournement and démontage is a right of reply and scathing meditation on the violence implicit within the stereotypes and rigid roles permitted women in public life.

 

55 min, b&w, French with English subtitles           

 

Sois belle et tais-toi
(Shut Up and Be Beautiful) (1981)

Comprising a series of interviews with well-known film actresses including Jenny Agutter, Jane Fonda, and Maria Schneider, the title, borrowed from a 1958 film with the same name by Marc Allegret refers to the actual situations in which the actresses have been expected and very often also forced to perform within the film industry. This video could be defined as a statement of the #MeToo movement avant la lettre.

 

115 min, b&w, French with English subtitles


Acknowledgements

Courtesy the Centre audiovisuel Simone de Beauvoir, Paris

Veem House for Performance

Van Diemenstraat 408-410, 1013 CR Amsterdam

The Netherlands

 

€12 adults / €7 students

 

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Research on Delphine Seyrig

Lecture
Friday 15 December 2017, 14hr

A reactivation of actress, video-maker and feminist activist Delphine Seyrig’s unrealised black and white silent feature about the letters of US-American frontierswoman Calamity Jane to her daughter. At the heart of Seyrig’s interest in the story is the relationship between mother and daughter, which she explores as an actress in Chantal Akerman’s Letters Home(1986), screened here alongside camerawoman Babette Mangolte’s Calamityrushes and Seyrig’s videos Inês(1974), S.C.U.M. Manifesto (1976) and Maso et miso vont en bateau(1976).

 

Part of a larger commission, in collaboration with art historian Giovanna Zapperi, by Centre audiovisuel Simone de Beauvoir, Paris


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Nataša Petrešin-Bachelez (b. 1976, Ljubljana. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist and author of several videos, Delphine Seyrig (b. 1932, Beirut. d. 1990, Paris), including her unfinished film Calamity on US-American frontierswoman Calamity Jane’s letters to her daughter.

Eye Filmmuseum
IJpromenade 1, 1031 KT Amsterdam
The Netherlands

 

€5 adults / students

Writing Out Loud

Jon Mikel Euba

Writing Out Loud brings together transcriptions of eight lectures by artist Jon Mikel Euba that were live-translated from Spanish to English during the course Action unites, words divide (On praxis, an unstated theory) at the Dutch Art Institute, Arnhem. The lectures were presented on invitation of If I Can’t Dance across the academic year 2014–15. The resulting texts sit within a larger writing-centred project by the artist, ongoing for almost a decade, with the aim of defining a form of praxis that could evolve into a technical theory.

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Designer: Philip Baber

Publisher: If I Can’t Dance and Dutch Art Institute, Arnhem

ISBN 978-94-92139-08-5

200 p, bw, 15×23 cm, pb, English, 2016


€18

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Social Movement
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Radio Emma
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Master course
Dutch Art Institute, Course 17/18

Since 2008 If I Can’t Dance collaborates with the Dutch Art Institute (DAI) on its MA programme. In these courses, artists collaborate with If I Can’t Dance’s curators and lead the workshop from the position of their own performance practices towards the development of an artistic project by the students. dutchartinstitute.eu

Opera Corruption

Screening
July 2018

Opera Corruption

Workshop
June 2018

Opera Corruption

Workshop
May 2018

Opera Corruption

Workshop
April 2018

Opera Corruption

Workshop
March 2018

Opera Corruption

Workshop
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Opera Corruption

Workshop
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Opera Corruption

Workshop
December 2017

Opera Corruption

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November 2017

Opera Corruption

introduction
October 2017
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is under construction

2015–16
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Alex Martinis Roe
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Naufus Ramírez-Figueroa

Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum. Nam quam nunc, blandit vel, luctus pulvinar, hendrerit id, lorem. Maecenas nec odio et ante tincidunt tempus. Donec vitae sapien ut libero venenatis faucibus. Nullam quis ante. Etiam sit amet orci eget eros faucibus tincidunt.

Naufus Ramírez-Figueroa: Requiem for Mirrors and Tigers

With a contribution by Frédérique Bergholtz and Susan Gibb

Requiem for Mirrors and Tigers catalogues the trajectory of a cycle of performances of the same name, through which artist Naufus Ramírez-Figueroa attempts to exhaust his interest in the Guatemalan Civil War as a recurring subject of his work. The publication documents the six performances in the cycle via foldout colour posters of each work and an essay by Frédérique Bergholtz and Susan Gibb that describes each performance alongside a reflection on the cycle as a whole.

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Design: Studio Manuel Raeder
Publisher: If I Can’t Dance in partnership with Bom Dia Books, Berlin
ISBN 978-94-92139-11-5 
56 p, ills col, pb, 29.7x 21 cm, English, 2018


€19

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Leonor Antunes
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Joke Robaard
Joke Robaard: Small Things That Can Be Lined Up

With contributions by Amelia Groom

This brochure provides an introduction to Joke Robaard’s Small Things That Can Be Lined Up, commissioned by If I Can’t Dance, and includes images and scripts from the work’s production and a new essay on Robaard’s practice by art writer Amelia Groom.

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Design: Maureen Mooren

ISBN 978-94-92139-09-2

20 p, ills bw, 21×27 cm, pb, English, 2016


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Research projects
Erin Alexa Freedman and Lili Huston Herterich
Chroma Lives

Erin Alexa Freedman and Lili Huston-Herterich with a contribution by Rosemary Donegan

Chroma Lives comprises research of a performative archive project by Erin Alexa Freedman and Lili Huston-Herterich into the group exhibition Chromaliving: New Designs for Living. Taking place in Toronto in 1983, Chromaliving occupied the disused architecture of a former department store and offered audiences a theatricalized vision of contemporary living through a labyrinth-like setting of domestic room displays of artist-made furniture, dressed mannequins, appliances, and interior decoration. Chroma Lives asks how one might reanimate this large-scale exhibition from Toronto’s recent art historical past and suture it to contemporary practices within the city. The publication includes essays by Freedman and Huston-Herterich that provide a history of Chromaliving and of the contemporary exhibition and oral history project they staged to archive this past event. These texts are accompanied by a previously unpublished essay by art historian Rosemary Donegan, which tells the history of Toronto’s vibrant downtown art scene in the early eighties; and generous photographic documentation of Chromaliving and its contemporary restaging Chroma Lives.

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ISBN: 978-94-92139-10-8

64 p, ills col & bw, 21×27 cm, pb, English, 2018


€15

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Fred Moten and Wu Tsang
Who Touched Me?

Fred Moten and Wu Tsang with a contribution by Denise Ferreira da Silva

Who Touched Me? is a compilation of research by Fred Moten and Wu Tsang, who together cohabit the roles of poet and performance artist. It traces the development of their sculptural performance Gravitational Feel, which was yet to be realized at the time the book went to print. This book introduces the reader to this work in its virtual state, while tracing Moten and Tsang’s lived experience of collaboration through a body of text composed of email correspondence, notes, poetry, fragments of essays, and transcriptions of earlier collaborative work. Together these entwined texts create a new socio-poetic form. To quote from the book’s pages: “The research/experiment is in how to sense entanglement.”

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ISBN 978-94-92139-06-1

64 p, ills col, 21×27 cm, pb, English, 2018


€15

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Peter Pal Pelbart
Ueinzz Theatre Company: Cosmopolitical Delay

Peter Pál Pelbart with contributions by Iza Cremonine and Paula Francisquetti

Ueinzz Theatre Company: Cosmopolitical Delay brings together a major new essay by philosopher Peter Pál Pelbart—a member of Ueinzz since its inception twenty years ago—and experiential contributions by other core members of the Brazilian theatre company. The thinkers, actors, philosophers, users of psychiatry, and therapists who make up Ueinzz adopt the theatre as a device “for changing power over life into power for life”. Self-described as a “community of those with no community, for a community to come”, Ueinzz proposes a territory of performance “for all those who feel the world around them is crumbling”. Through personal recollections, fragments of scripts, and philosophical musings, Pelbart rounds out the significance of Ueinzz’s “way of life”. Complementary contributions are by fellow Ueinzz members, including Paula Francisquetti, Leonardo Lui Cavalcanti, Amélia Monteiro de Melo, and the late Iza Cremonine.

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ISBN 978-94-92139-07-8

64 p, ills col, 21×27 cm, pb, English, 2018


€15

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Event and Duration
Reading Group Amsterdam
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2013–14
Appropriation and Dedication
Reading Group Amsterdam
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Affect
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Wendelien van Oldenborgh
Amateur: Wendelien van Oldenborgh

Edited by Wendelien van Oldenborgh and Emily Pethick with David Morris

Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving-image work and accompanying installations. Developed over the past ten years, these works explore communication and interaction between individuals, often set against the backdrop of a unique public location in order to cast attention towards repressed, incomplete, and unresolved histories. Through the staging of these encounters in film, Van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions. The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with Van Oldenborgh, and offer in-depth observations and reflections on a work from her oeuvre.


acknowledgements

Contributors: Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, Grant Watson

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Design: Julia Born

Publishers: If I Can’t Dance;
The Showroom, London;
and Sternberg Press, Berlin

Distribution: Sternberg in selected bookshops worldwide

396 p, ills col, 17.5×24.5 cm, hc, cloth binding, English/Dutch, 2016

ISBN 978-3-95679-191-8


€35

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Bulegoa z/b
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2005
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