Emilio García Wehbi / Gabo Ferro
ARTAUD 1: LENGUA ∞ MADRE
ARTAUD 1: LENGUA ∞ MADRE is a performance that attempts to approach certain aspects of the poetics and psyche of Antonin Artaud in an interdisciplinary way.
Using non-traditional narrative, this joint venture by Gabo Ferro and Emilio García Wehbi will show possible landscapes made of matter and certain objects belonging to the French poet, under the influence of a past session of electroshock; a contemporary altarpiece made of orphan words, like motherless children; bodies disciplined by the mechanics of order, seeking to free themselves through cannibalism; school notes subject to psychological diagnosis; music that finds its lost sound through Henry Purcell; sacrificed animals in the name of the Father, among others.
Idea, text, music, performance and mise-en-scene: Gabo Ferro, Emilio García Wehbi
Guest artist: Gabriela Marín
Sound: Alejandro Pugliese
Stage design and assistant director: Julieta Potenze
Lighting: Agnese Lozupone
Costume design: Belén Parra
Movement: Maricel Alvarez
Production: Celia Coido, Julieta Potenze
Assistant director: Amalia Tercelán
Dates: June 5 and 6
Time: 8:30 pm
Venue: Centro de Arte Experimental UNSAM
Free admission. Open inscriptions
ENTRADAS AGOTADAS
Emilio García Wehbi, 1964, Buenos Aires,
Argentina. He lives and works in Argentina.
Interdisciplinary artist who works in the crossover of the different languages of performing arts. In 1989 he founded El Periférico de Objetos, paradigmatic group of Argentine experimental theater. His operas, performances, installations, urban interventions, and productions have been presented in America, Europe, Oceania, and Asia. He earned international and local awards. As author of books he published Communitas (Buenos Aires, Argentina, 2015); Luzazul (Córdoba, Argentina, 2014); Botella en un mensaje (Córdoba, Argentina, 2012), and Ensayo sobre la tristeza (Buenos Aires, Argentina, 2004). Chief among his theater productions are King Lear (Teatro Alvear, Buenos Aires, Argentina, 2013); Prefiero que me quite el sueño Goya a que lo haga cualquier hijo de puta (Teatro Timbre 4, Buenos Aires, Argentina, 2012); Hécuba o el gineceo canino (Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2011); Dr. Faustus (Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2010); Woyzeck (Teatro General San Martín, Buenos Aires, Argentina, 2006); Bambiland (Goethe Institut, Buenos Aires, Argentina, 2005); La balsa de la Medusa (Teatro Elkafka, Buenos Aires, Argentina, 2005); Los murmullos (Teatro General San Martín, Buenos Aires, Argentina, 2002); Zooedipous (Kunsten Festival des Arts, Brussels, Belgium, 1998); Hamletmachine (El callejón de los deseos, Buenos Aires, Argentina, 1995); Cámara Gesell (Teatro Babilonia, Buenos Aires, Argentina, 1994), and The Sandman (Teatro Lara, Buenos Aires, Argentina, 2002). He also presented stage installations such as Exquisite Pain (Sala Beckett, Buenos Aires, Argentina, 2008); Manifiesto de niños (Kunsten Festival des Arts, Brussels, Belgiua, 2005), and Cuerpos viles: Museo de la Morgue Judicial (Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 1999). His most important urban interventions include Proyecto Filoctetes (Krakowskie Reminiscencje Teatralne, Cracow, Poland, 2007; Spielsiteuropa, Berliner Festwochen, Berlin, Germany, 2004; Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2002; Wiener Festwochen, Vienna, Austria, 2002); Lucha libre (Taller de Escuela Internacional de Teatro de América Latina y el Caribe, Cuernavaca, Mexico, 2005), and Lima: baño público (Lima, Peru, 2005). He produced the following performances: 58 indicios sobre el cuerpo (Teatro Timbre 4, Buenos Aires, Argentina, 2014); Aurora (Malba, Buenos Aires, Argentina, 2013); Cuando el bufón se canse de reír (Teatro Timbre 4, Buenos Aires, Argentina, 2013); Chacales y árabes (Morgue de la Facultad de Veterinaria, Universidad Nacional de Colombia, Bogota, Colombia, 2009); El matadero.1 (Espacio Callejón, Buenos Aires, Argentina, 2005); El matadero.2 (Espacio Callejón, Buenos Aires, Argentina, 2005); El matadero.3 (Teatro del Aire, Buenos Aires, Argentina, 2006); El matadero.4 (Ciudad Cultural Konex, Buenos Aires, Argentina, 2007); El matadero.5 (Ciudad Cultural Konex, Buenos Aires, Argentina, 2008); El matadero.6 (Ex Convento de San Lorenzo Mártir, Mexico City, Mexico, 2008); Jakob von Gunten (Universidad Nacional de Colombia, Bogota, Colombia, 2007), and Moby Dick (Espacio Callejón, Buenos Aires, Argentina, 2003). He also undertook the staging of operas such as Luzazul (Teatro Colón Experimentation Center, Buenos Aires, Argentina, 2013); El (A)parecido (Teatro Colón Experimentation Center, Buenos Aires, Argentina, 2010); Aura (Teatro General San Martín, Buenos Aires, Argentina, 2010); El matadero. Un comentario (Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2009); Anna O. (Teatro Colón Experimentation Center, Buenos Aires, Argentina, 2004); Monteverdi Método Bélico (Luna Theater, Brussels, Belgium, 2000), and Sin voces (Teatro Colón Experimentation Center, Buenos Aires, Argentina, 1999).
His most recent mise-en-scenes include Vértigo, multidisciplinary work which included screenings, mapping, sound interventions, walk-on actors, and inflatable toys (façade, and grand staircase of the University of Buenos Aires Law School, featured at the Night of Museums, produced by the Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina, 2014).
Gabo Ferro, 1965, Buenos Aires, Argentina.
He lives and works in Argentina.
Singer, songwriter and composer of long career in rock and contemporary popular music. He has given concerts and recitals in Argentina and other countries of the Americas and Europe. Among his most important albums are La primera noche del fantasma (Oui Oui Records/Costurera Carpintero, 2013); La aguja tras la máscara (Oui Oui Records/Costurera Carpintero, 2011); Boca arriba (Oui Oui Records/Costurera Carpintero, 2009); Amar, temer, partir (Costurera Carpintero, 2008); Mañana no debe seguir siendo esto (Azione Artigianale, 2007); Todo lo sólido se desvanece en el aire (Azione Artigianale, 2006), and Canciones que un hombre no debería cantar (Azione Artigianale, 2005). He has received numerous awards including the Clarín award for Best New Rock Artist (2006), the 2014 Gardel award for Best Singer-songwriter Album, and the Golden Medal from the National Academy of History. As historian he has published two essays: Degenerados, anormales y delincuentes. Gestos entre ciencia, política y representaciones en el caso argentino [Degenerates, abnormal, and criminals. Gestures between science, politics and representations in the Argentine case] (Buenos Aires, 2010) and Barbarie y civilización: sangre, monstruos y vampiros durante el segundo gobierno de Rosas [Barbarism and civilization: blood, monsters, and vampires during Rosas' second administration] (Buenos Aires, 2009). He has also published Costurera carpintero (Buenos Aires, 2014), an anthology of lyrics from all his albums with prologue by Diana Bellessi.
Next to Haydée Schvartz, he participated of the staging of John Cage's Four Walls (Teatro Colón Experimentation Center, Buenos Aires, Argentina, 2009 and 2011), of John Cage Festival (Buenos Aires, Argentina, 2012) and of the special series Las músicas dentro de la música (Buenos Aires, Argentina, 2013). Many of his poems, songs, and short stories have served as background material, soundtrack and inspiration for choreographies, performing-vocal pieces, documentaries, and Argentine and international films.
