17.12.2020—31.01.2021

1000 spaces part II

Arte, Musica, Performance, Online

A x-mas edition of online performances

Informazione

Maïté Chénière

Programma

Giulia Crispiani

Invernotmuto

Tersa Vittucci

Biografie

Invernomuto

Dates
17.12.2020
31.01.2021
Location
Online
Category
Arte, Musica, Performance
Information

A x-mas edition of online performances

1000 Spaces. A x-mas edition of online performances

1000 Spaces is this year’s edition of Istituto Svizzero’s Christmas performance and music programme, which takes place exclusively in the virtual space. 1000 Spaces, thus 1000 virtual, real or imagined spaces.
The last months have made us experience spaces in a different way. As the public space suddenly became less and less accessible, many of our activities shifted to the private one. Here we have worked, eaten, loved, hoped and doubted. The Zoom conference’s window and our computer’s camera provided insights into perhaps intimate, perhaps staged spaces. To the same extent in which the real space somehow moved away, the virtual space moved closer again, with all its promises and unfulfilled promises. In terms of artistic and curatorial work, it is both and it drives us to rethink about our practices.
 

1000 Spaces is a compilation of performative works developed specifically for the digital space, which in turn lead us into countless, possibly real or imagined spaces, even worlds.

Programme

17.12.2020
Lara Dâmaso (lives and works in Zurich)
Invernomuto (Simone Bertuzzi and Simone Trabucchi, live and work in Milan)
Maïté Chénière (lives and works in Geneva)
Giulia Crispiani (lives and works in Rome) – Facebook live H19:00
Teresa Vittucci (lives and works in Zurich)

lamento, adagio: ode to dissonance (2020)
Body and voice—the dancing, moving body and voice, shouting, singing. These are the elements that Lara Dâmaso uses again and again in her artistic work. Especially for 1000 Spaces she has created the video work lamento, adagio: ode to dissonance. The camera follows the artist through the exhibition spaces—and the current exhibition WE HYBRIDS!at Istituto Svizzero in Rome. The slow movements of her body contrast, an indeed dissonance, with Lara Dâmaso’s voice which, by screaming and singing, fills the exhibition spaces more and more, repeating itself through echoes, thus once again creating a new space all its own.

Costume: Arienne Birchler
Camera: Tommaso Cassinis
Sound technician: Giacomo Serri

Black Med Simulation (2020)
Invernomuto
present a test of Black Med Simulation, a stereo track composed of a selection of audio files from the Black Med archive. Black Med is a platform initiated by Invernomuto for Manifesta 12 (Palermo, 2018), following Alessandra Di Maio’s adaptation of the Black Atlantic theory to the Mediterrenean and aims at intercepting the trajectories which sounds trace passing through the Mediterranean’s protean area in the same way as migration routes leave sonic trails. Though such trails surface in a scenario of a humanitarian crisis and heated geopolitical dispute, they resist representation and propose an affective, intrinsically diasporic economy.
The algorithm, which is due to be released in 2021, is able to “play” by itself all the musical contents collected to date. The audio files function as instructions for the algorithm by being processed, tagged and expanded and are constantly fed by user’s new uploads, creating a Black Med magma, constantly evolving.

TRACKLIST
• Ramsey Lewis, “Wade In The Water” from Wade In The Water (1966)
• Sabah, “Min Sayda la Jounieh”
• Ryuichi Sakamoto, “Fullmoon” from Async (2017)
• Raul Lovisoni, Francesco Messina, “Amon Ra” from Prati Bagnati Del Monte Analogo (1979)
• Alshareef Tor5y, “50dne” (Hanroo7 El Nar mix)
• Laurie Spiegel, “The Unquestioned Answer” from The Expanding Universe (2012)
• Lamin Fofana, “Another World” from Another World (2015)
• Eliane Radigue , “Elemental I, Terre – Eau – Pluie” from Jouet Electronique / Elemental I (2010)
• El Rass & El Mahdy Jr, “Lampedusa”
• YL – #MarseilleAllStar, “Episode 2” feat. Dibson, Kofs, Djiha, Mazen (2016)
• Makimakuk, Julmud, “Ya Wardy” (produced by Al Nather) from Ya Wardi / Ya Helwa (2019)
• Wizkid, “Pakurumo” from Superstar (2011)
• Bawin, “Ya Binaya Goumi (Oh Girl, Stand Up)” from VV. AA. Choubi Choubi! Folk And Pop Songs From Iraq (2005)
• Faisal Alawi, “Ana El Majrouh”
• Alan Lomax (recorded by), “I Passiuna tu Christù” (1954)
• Paolo Fresu, “Mediterraneo” from Vinodentro (2013)
• 1127, “Pannik”
• Mohammad Reza Mortazavi, “Riding Time” from Ritme Jaavdanegi (2019)
• Khotin, “Wheeler Road” from New Tab (2017)
• Iannis Xenakis, “Persepolis (Part 1)” from Persepolis (2018)

Maïté Chénière (a.k.a. Mighty) adotta ricerca teorica, musica, performance o video per creare esperienze ibride. Nella loro pratica fondono la produzione culturale di persone queer razzializzate, e conoscenze teoriche e popolari per dare vita a un discorso emancipatorio. Mighty è DJ afro-futurista, produttore.trice e curatore.trice di eventi basato a Ginevra. Attraverso la musica manipolano lo spazio e il tempo, invitando corpi fluidi e mutanti sulla pista da ballo. Hanno presentato il loro lavoro, tra gli altri, alla galleria 1.1, Basilea; Un lieu pour respirer, Parigi; Haus der Kulturen der Welt, Berlino; Festival Les Urbaines, Losanna, Théâtre de l’Usine, Cinéma Spoutnik, Ginevra; Mains d’œuvres, Parigi e agli Ateliers Claus, Bruxelles.

Giulia Crispiani è scrittrice e artista visuale basata a Roma, dove è editor per NERO Editions e per il Teatro di Roma. I suoi media favoriti per il format scritto sono le interviste, le lettere d’amore e i manifesti.

Lara Dâmaso (n. 1996) vive e lavora a Zurigo. Dopo anni di intenso allenamento di balletto e danza contemporanea, ha studiato presso la Hochschule für Grafik und Buchkunst a Lipsia, nella sezione Arte e Media, e alla Zurich University of the Arts (ZHDK), dove ha ottenuto un BA in Belle Arti. La sua pratica artistica varia tra performance, video, apparizioni come performer per vari artisti e DJ set; e il suo lavoro bilancia tanto la concentrazione assoluta quanto il caos sensuale. Si struttura per destrutturare, aprendo così spazi intimi in cui può realizzarsi il dialogo. Il suo lavoro è stato mostrato in varie istituzioni e off space, come Kunsthalle Zürich, Cabaret Voltaire, Plymouth Rock, Kunsthalle Bern, Centre Pasqu’Art.  È stata nominata per il The Kiefer-Hablitzel Göhner Kunstpreis 2020 ed è nominata per Plattform21.

Simone Bertuzzi (n. 1983) e Simone Trabucchi (b. 1982) collaborano come Invernomuto dal 2003. Sebbene il loro lavoro si focalizzi prima di tutto sull’immagine in movimento e sul suono, integrano anche scultura, performance e pubblicazione nella loro pratica. Invernomuto esplora cosa rimane delle subculture, passando attraverso diversi media. Osservate con occhi sfacciatamente colpiti, le culture orali e le storie minori vengono schiuse, le loro forme vernacolari esaminate. I materiali non autentici giocano un ruolo fondamentale all’interno di questi processi, enfatizzando le realtà fittizie che li ispirano. Bertuzzi e Trabucchi hanno sviluppato linee di ricerca del suono individuali, rispettivamente con Palm Wine e STILL. Attualmente, Invernomuto sta sviluppando una nuova commissione per la Biennale di Liverpool del 2021. Un ulteriore progetto, Black Med, è stato concepito in origine nel 2018 per Manifesta 12 (Palermo) ed è stato recentemente parte del programma di performance della 58esima edizione della Biennale di Venezia (2019); Black Med verrà ulteriormente sviluppato nel 2020 con la Fondazione Morra Greco (Napoli). Recenti esibizioni includono: Auto Italia, Londra (2020) Galleria Nazionale, Roma (2019), NN Contemporary Art, Northampton (2019), MED T-1000, Pinksummer, Genova (2019), Leto Gallery, Varsavia (2019), Artspeak, Vancouver (2015), tra le altre. Nel 2017 Invernomuto ha vinto il Museion Prize 1 (Bolzano); nel 2018 sono stati finalisti del MAXXI Bvlgari Prize (Roma) e del MAC International 2018 (Belfast). Il loro lavoro è stato esibito, tra gli altri, alla TATE (Londra), Manifesta 12 (Palermo), Villa Medici (Roma), Alserkal Avenue (Dubai), Kunsthalle Wien (Vienna), Galleria Nazionale (Roma), Nuit Blanche 2017 (Parigi), MAXXI (Roma), Museion (Bolzano), Unsound Festival (Cracovia), Kunstverein München (Monaco).

Teresa Vittucci è un’artista nata a Vienna, attualmente basata a Zurigo. La sua pratica abbraccia i campi della performance, della danza contemporanea, della commedia dell’assurdo e del film. Investiga le prospettive femminili e queer nella cultura popolare, nella storia, nella religione. Le battute mal riuscite sono sempre parte del processo. Lavora come artista solista, sebbene instauri collaborazioni di tanto in tanto: alcune di queste includono lavori con Nils Amadeus Lange, Marilu Mapengo Namoda, Claire Sobottke, Michael Turinsky e Colin Self. Inoltre, nella sua pratica si è esibita con Simone Aughterlony, Marie Caroline Hominal, Benny Claessens e molti altri. Vittucci è stata premiata svariate volte per il suo lavoro, incluso un premio di riconoscimento dalla città di Zurigo e lo Swiss Dance Prize federale per il suo pezzo HATE ME, TENDER. Teresa è Young Associate Artist alla Tanzhaus Zürich. Il suo nuovo lavoro, RECKLESS BITCH, debutterà alla Tanzhaus Zürich il 24 febbraio 2021.

summons & parables, 2020
Maïté Chénière (a.k.a. Mighty) uses music, performance and video to create hybrid experiences. In their practice, they merge the cultural productions of racialised queer people, theoretical and popular knowledge to create emancipatory dialogues. For 1000 spaces Mighty create a work made up of interwoven spacial dimensions, through the mediums of sound and video. We are invited to explore these spaces and their extensions, new territories as portals, through the use of our trackpad or mouse. Once in, each video leads us potentially to another, an architecture composed of intertwined realms which unfold in front of our eyes. There is no perception on the scale and size of these scapes gravitating around the beats and visual graphics, what we are left with is an electrical charge and a sensation of wanting to explore more.

 

Tips for navigation
– To navigate, please use the arrows on your keyboard. It will allow you to go forward, or backward, zoom in or out.
– The blue circles all indicate videos. You can use the mouse or trackpad to activate the player.
– The soundtrack is ten minutes long.
– Play it loud.

 

summons & parables, 2020

Sangue freddo / cold blood (2020)
In her new work Sangue freddo / cold blood, Giulia Crispiani provides insight into a very intimate space: her bedroom. According to the artist, this has often served as a workplace over the past few months. The watchful eyes of the computer’s camera omnipresent. Conceived as a live stream, however, Giulia Crispiani plays precisely with this ambiguity and gives us a (supposed?) glimpse into an intimate space. Bathed in red light, the bed sheets shimmer white while the artist reads out a love letter. TVB – the colloquial acronym for ‘Ti voglio bene’ (‘I like you’ or ‘I love you’ – and here we are in the middle of another ambiguity) shines behind the bed. We hear her voice: “Do you still know what is happening outside?” Or have we long forgotten the world out there?

Sangue freddo / cold blood (2020)
Musical selection: Giandomenico Carpentieri
Facebook live H19:00

Teresa Vittucci, Virgin Blood (2020)
A teaser for ‘HATE ME, TENDER’.

Virgin Blood is Teresa Vittucci’s latest teaser for HATE ME, TENDER (2019) created specially for 1000 spaces. As the work HATE ME, TENDER  and other teasers, it focuses on her research on hate and feminism. The protagonist is once again the Virgin Mary and with a gentle violence Vittucci begins to unravel the queer potential of a figure which is culturally seen as epitome of purity, innocence and perfection, icon of the compassionate woman and mourning mother.
Teresa, through the use of an ironic and metaphorically charged vocabulary, along with a strong presence of the body, describes the recipe for a dirty Virgin Mary. Celery whipping and squirting lemons are the few epithets mentioned during this playful description. In the background we pick-up parts of Donna Summer’s I Feel Love hummed by the artist. The work softly concludes with Agni Parthene (O Virgin Pure) a Greek Marian Hymn, while we gaze into the black screen of the interface.

Commissioned by Istituto Svizzero, Roma and Impulse Festival Köln
by Teresa Vittucci

Special thanks to:
Benji Egger
Jasmin Wiesli
Rafal Pierzynski
Veza Fernandez
Istituto Svizzero, Tanzhaus Zürich, Impulse Theaterfestival

Espaco do Tempo Montemor, Premio Schweiz, ImPulsTanz Vienna

SAVE THE DATE
Registrati a questo evento per ricevere una notifica via email

Conferma
* Campo richiesto