Labor and Dance: On movement, work and leisure

The seminar will focus on some chapters of the artist’s book Artist at Work, Proximity of Art and explore in depth different performances to analyze the notion of ‘’labor’’ from different perspectives.

*Eugenia Cadús is a professor at UBA and a postdoctoral fellow at CONICET. She carries out her work at the Instituto de Historia del Arte Argentino y Latinoamericano (FFyL-UBA), where she runs the Grupo de Estudios de Danza Argentina y Latinoamericana.

May 13th to 18th
17 to 22 hs.
May 18th
9 to 14 hs.
Bojana Kunst from May 16th and 17th from 17 to 20 hs. and May 18th from 9 to 12 hs. Eugenia Cadús from May 13th to 15th from 17 to 22 hs., May 16th and 17th from 20 to 22 hs. and May 18th from 12 to 14 hs.

El Cultural San Martín
Sarmiento 1551 – CABA 

Free admission for this activity except for those requesting school credits given that itqualifies as a postgraduate seminar.
Those interested in requesting it must sign up or write to movimiento.investigacion@una.edu.ar
or movimiento.investigacion@gmail.com

Free entrance.
* only the activity from May 16 to 19, from 18 to 22 hs. will be with prior registration through the email bpcba19@gmail.com

This year’s BP19 will be traveling to the city of Córdoba. El Gran Vidrio will be the venue chosen for Swiss artist Marie-Caroline Hominal, with the curatorship of the Bienal de Performance, and an assorted programming produced, coordinated and curated by Catalina Urtubey.

May 10th

15 hs. Video Performance
Dolores Cáceres (ARG)

16 hs. Performance
Talma Salem (BRA)

17 hs. Performance
Alberto Antonio Romero (ARG)

18 hs. Performance
Verónica Meloni (ARG)

19 hs. Performance
Marie-Caroline Hominal (SWITZERLAND)
Coproduction: BP.19, El Gran Vidrio, Embajada de Suiza en Argentina, Pro Helvetia and Agencia Córdoba Cultura – Gobierno de la Provincia de Córdoba.

May 11th

17 hs. Performance
Talma Salem (BRA)

17 a 20.30 hs. Performance
Marie-Caroline Hominal (SWITZERLAND)
Coproduction: BP.19, El Gran Vidrio, Embajada de Suiza en Argentina, Pro Helvetia and Agencia Córdoba Cultura – Gobierno de la Provincia de Córdoba.

17.45 hs. Performance
Constanza Pellici (ARG)

18.45 hs. Performance
Mariela Scafati (ARG)

19.45 hs. Performance
El Pelele (ARG)

May 12th

20.30 hs. Performance
Irreal Academia  - Toborochi
Espacio Ramona
Coproduction: Irreal Academia, Quinto Deva y El Gran Vidrio.

|May 16th to 19th

18 a 22 hs. Workshop: Aprender un Cuerpo
Silvio Lang (ARG)
Actividad gratuita con inscripción previa.

May 19th

20 a 22 hs. Workshop closure “Aprender un Cuerpo” + Party
Silvio Lang / Colectivo Queen Cobra (ARG)

May 27th

18.30 hs. Conversation: Victoria Fortuna (ESP); Colectivo Queen Cobra (ARG)
Presenter: Gustavo Blázquez (ARG)
Coproduction: El Gran Vidrio, BP.19, UNA (Departamento de Artes del Movimiento), Northwestern University, Agencia Córdoba Cultura – Gobierno de la Provincia de Córdoba and Ministerio de Educación, Cultura, Ciencia y Tecnología – Presidencia de la Nación.

Labor and Dance: On movement, work and leisure

The seminar will focus on some chapters of the artist’s book Artist at Work, Proximity of Art and explore in depth different performances to analyze the notion of ‘’labor’’ from different perspectives.

*Eugenia Cadús is a professor at UBA and a postdoctoral fellow at CONICET. She carries out her work at the Instituto de Historia del Arte Argentino y Latinoamericano (FFyL-UBA), where she runs the Grupo de Estudios de Danza Argentina y Latinoamericana.

May 13th to 18th
17 to 22 hs.
May 18th
9 to 14 hs.
Bojana Kunst from May 16th and 17th from 17 to 20 hs. and May 18th from 9 to 12 hs. Eugenia Cadús from May 13th to 15th from 17 to 22 hs., May 16th and 17th from 20 to 22 hs. and May 18th from 12 to 14 hs.

El Cultural San Martín
Sarmiento 1551 – CABA 

Free admission for this activity except for those requesting school credits given that itqualifies as a postgraduate seminar.
Those interested in requesting it must sign up or write to movimiento.investigacion@una.edu.ar  or movimiento.investigacion@gmail.com

Body and political dimension

June 3rd to 7th
17 to 22 hs.
June 8th
9 to 14 hs.

El Cultural San Martín
Sarmiento 1551 – CABA

Free admission for this activity except for those requesting school credits given that itqualifies as a postgraduate seminar.
Those interested in requesting it must sign up or write to movimiento.investigacion@una.edu.ar or movimiento.investigacion@gmail.com.

The seminar is based on two main premises for analysis: 1) distinguish between ”political dance” and ”the politics of
dance”, and 2) examine how the bodies continuously travel outside of themselves to become other bodies, incarnate other experiences, run from themselves, or expand their potency.

*Victoria Fortuna  obtained her PhD in Performance Studies from Northwestern University. She specialized in Latin American theatrical dance, dance as a form of social and political organization, archive practices and cultural stories about dance from a transnational perspective.

Victoria Pérez Royo from June 3rd to 5th from 17 to 20 hs. Victoria Fortuna from June 3rd to 5th from 20 to 22 hs., June 6th and 7th from 17 to 22 hs. and June 8th from 9 to 14 hs.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne
Gisèle Vienne creates photographic compositions in which the puppets from her shows become models striking poses. By addressing the ambiguities and troubles that are typical of adolescence, and by questioning the perspective that we as adults adopt towards this phase in life, the artist takes her sad, sometimes excessively made-up Lolita characters, and leads them towards a gradual transformation into androgynous beings.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez

REGISTRATION
Free tickets with prior registration available from May 4th.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez 

REGISTRATION
Free tickets with prior registration available from May 4th.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez 

Sold out.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

May 11th
16 hs.

Instituto Italiano de Cultura
Marcelo T. de Alvear 1119 – CABA

REGISTRATION
Free tickets with prior registration available from May 4th.

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

May 11th
18.30 hs.

Asociación Amigos del Museo Nacional de Bellas Artes
Av. Figueroa Alcorta 2280 – CABA

REGISTRATION
Free tickets with prior registration available from May 4th.

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez

REGISTRATION
Free tickets with prior registration available from May 4th.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez 

REGISTRATION
Free tickets with prior registration available from May 4th.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

Paseo Costero Vicente Lopez
Gral. J.J. Urquiza y el río – Vicente Lopez 

Sold out.

It is reprogrammed in case of rain.

From the Latin ”prospectus”: overview, a view from afar, point of view, perspective; from the verb ”prospicere” that means looking from a distance, with a prefix, ”per” (through) and a ”specere” (looking, observing). Seeing through…but through what? Television, a newspaper, social media, a seat in the theater? Which one is the lens? Who builds the symbolic space from which we look, and that builds the contemporary perspectives of the world? What interests lay behind?

The world does not exist. There is a theater, a scene built from a gaze. This gaze projects an image on the thing that prevents it from being seen. Everything around us is entangled and complex, but we expect it to produce simple answers, slogans, although this expectation is nothing but pure apophenia: the ability to see recognizable, nameable figures in spots, clouds, wood grains, etc.

Creating the ”point of view” is an ideological, strategic, subtly violent act.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Free admission.

This performance seeks to push Elena Dahn’s struggle against painting, sculpture and her own body to the limit. The minimalistic mise-en-scène, a latex surface and tension ropes attached to the body, all become plan and accident to create a sculpture that only exists when supported by physical elements in movement.

In this work, the real distance between the body’s action and the material is taken to an extreme, slowing down the trajectory between stimulus and response. The different phases of the journey that makes up a nervous impulse are displayed in a large space, making it impossible, both for the public and the artist, to encompass the entirety of the experience in one single act of perception.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

Sold out.

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

Teatro Coliseo
Marcelo T. de Alvear 1125 – CABA

TICKETS

This project is inspired by the five books of Dutch philosopher Baruch Spinoza’s Ethica (1632-1677). For each one of them, Romeo Castellucci proposes a theatrical action. Nature and Origin of the Mind takes its name from On the Origin and Nature of the Mind, the second book, which explores the nature of higher thinking and the power of the mind as a nucleus or ”locus” where reality itself is constituted.  

A young woman hangs from a wire a few meters from the ground, only holding on with the index finger of her left hand. Far from being desperate, she seems in full control of the situation…It might not be the first part of a fall but rather a levitation, a push forward, a force. Occupying the upper part, the suspended body highlights the rational space of architecture. A dog wanders about under her, between the viewers. It walks around, drifting free. All of a sudden, it howls. A dialogue between the dog/cat and the young woman begins, discussing the fact that they are both the result of the inner view of the spectators. The dog/cat has decided to be and give voice to a video camera. The young woman, in the light. The crowd, a third character, reacts upon hearing those words: it is the Mind, the protagonist that gives its name to this action. Against this backdrop, the performance opens up and descends towards the delta, where the waters come to an end: an auditorium. The image created  in the mind of the artist finally reaches the mind of the viewer who, upon receiving it, provides it with a shape. The purpose is to freeze the thought right when the image is received, to seal the merger between reception by the viewer and creation of the original image.

Idea and direction: Romeo Castellucci
Text: Claudia Castellucci
Sound: Scott Gibbons
Performer: Silvia Costa
And with the participation of Ayelén Clavin, Carolina Faux, Carla de Grazia, Margarita Molfino Florencia Montaldo, Amalia Tercelán
Male recorded voice: Bernardo Bruno
Sculptures: Istvan Zimmermann and Giovanna Amoroso
Technical direction: Filippo Mancini
Sound engineering: Michele Braga
Production supervision: Benedetta Briglia
Organization and communication: Gilda Biasini and Giulia Colla
Administration: Michela Medri, Elisa Bruno, Simona Barducci and Massimiliano Coli
Production: Societas
Co-production: T2G-Théâtre de Gennevilliers, Centre Dramatique National de création contemporaine
Tour production: Aldo Grompone

This piece was created in Venice for the Biennale College-Teatro in August 2013. co-produced with the Théâtre de la Ville and the Festival d’Automne de Paris, in collaboration with the Venice Biennale .

Duration: 45 minutes 

Public space

Recommended for participants over 18.

Free tickets with prior registration available from April 22nd to May 3rd. The participants will be selected by the artist, who will communicate with each of them to coordinate the details. Registration does not ensure participation.

In Bento’s sketchbook, John Berger draws an analogy between the act of driving a motorcycle and drawing. This performance-experience explores this merger. The proposal is simple: the artist (driver) takes a viewer (passenger) to drive around in his motorcycle with a specific purpose (running errands; deliver a letter; visiting a person or a place, or simply wandering about the city). The body of the performer is offered as the trigger of an eternal movement of bodies. An agreement based on trust; leading, accompanying. A temporary union. Stability and movement. The weight of two balanced bodies, moving about the space, together with the visual record of said movement. The possibility of saying: ”I was here, and moved in that direction”. Thinking about the motorcycle’s trajectory like a line drawn on the floor. Understanding that not only do we have a body that sets us apart from others, but that we are a body incorporated into an extensive, symbolic matrix; the body as a sign, par excellence, of mobility and transformation.

Creation and performance: Lisandro Rodríguez
Production and artistic assistance: Carla Petrillo
Artistic collaboration: Martín Seijo and Diego Vainer
Executive production: Débora Staiff, Índigo Producciones

Registration ended on May 3rd.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Public space

Recommended for participants over 18.

Free tickets with prior registration available from April 22nd to May 3rd. The participants will be selected by the artist, who will communicate with each of them to coordinate the details. Registration does not ensure participation.

In Bento’s sketchbook, John Berger draws an analogy between the act of driving a motorcycle and drawing. This performance-experience explores this merger. The proposal is simple: the artist (driver) takes a viewer (passenger) to drive around in his motorcycle with a specific purpose (running errands; deliver a letter; visiting a person or a place, or simply wandering about the city). The body of the performer is offered as the trigger of an eternal movement of bodies. An agreement based on trust; leading, accompanying. A temporary union. Stability and movement. The weight of two balanced bodies, moving about the space, together with the visual record of said movement. The possibility of saying: ”I was here, and moved in that direction”. Thinking about the motorcycle’s trajectory like a line drawn on the floor. Understanding that not only do we have a body that sets us apart from others, but that we are a body incorporated into an extensive, symbolic matrix; the body as a sign, par excellence, of mobility and transformation.

Creation and performance: Lisandro Rodríguez
Production and artistic assistance: Carla Petrillo
Artistic collaboration: Martín Seijo and Diego Vainer
Executive production: Débora Staiff, Índigo Producciones

Registration ended on May 3rd.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

May 16th
14.30 to 19 hs.

Centro Cultural Recoleta
Junín 1930 – CABA

REGISTRATION

It is recommended for people over 18 years old.
 
“The triumph of fame” is part of a six-poem collection by Petrarca (1304-1374) entitled I trionfi. These poems describe life stages by depicting duels that confront different virtues: Fame defeats Death, but is in turn defeated by Time and Eternity. In the backstage of the theater, beyond the stage, Marie-Caroline Hominal receives one guest at a time, eliminating the codes of theatrical artifice, choosing instead a one-to-one encounter.

Duration: 15 minutes.

Madmoiselle Marie-Caroline Hominal is supported by the City of Geneva, the Canton of Geneva and Pro Helvetia, Swiss foundation for culture.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Inside the Practice: Some Thoughts on the Body of a Dancer and the concept of labor.

The lecture will address the political potentiality of the dancing body, focusing particularly on the notion of practice. The work of some young choreographers will be taken as a reference, challenging the formats of performance representation and exchange.

May 14th
18 hs.

C Complejo Art_media
Av. Corrientes 6271 – CABA 

Free admission.

Conference

Paradox of the new institution: on time and imagination

Special attention will be paid to the perspective of time, disclosing the crucial role imagination has in how performance is produced and shared

May 15th
18 hs.

C Complejo Art_media
Av. Corrientes 6271 – CABA 

Free admission.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Public space

Recommended for participants over 18.

Free tickets with prior registration available from April 22nd to May 3rd. The participants will be selected by the artist, who will communicate with each of them to coordinate the details. Registration does not ensure participation.

In Bento’s sketchbook, John Berger draws an analogy between the act of driving a motorcycle and drawing. This performance-experience explores this merger. The proposal is simple: the artist (driver) takes a viewer (passenger) to drive around in his motorcycle with a specific purpose (running errands; deliver a letter; visiting a person or a place, or simply wandering about the city). The body of the performer is offered as the trigger of an eternal movement of bodies. An agreement based on trust; leading, accompanying. A temporary union. Stability and movement. The weight of two balanced bodies, moving about the space, together with the visual record of said movement. The possibility of saying: ”I was here, and moved in that direction”. Thinking about the motorcycle’s trajectory like a line drawn on the floor. Understanding that not only do we have a body that sets us apart from others, but that we are a body incorporated into an extensive, symbolic matrix; the body as a sign, par excellence, of mobility and transformation.

Creation and performance: Lisandro Rodríguez
Production and artistic assistance: Carla Petrillo
Artistic collaboration: Martín Seijo and Diego Vainer
Executive production: Débora Staiff, Índigo Producciones

Registration ended on May 3rd.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

May 16th
14.30 to 19 hs.

Centro Cultural Recoleta
Junín 1930 – CABA

REGISTRATION

It is recommended for people over 18 years old.
 
“The triumph of fame” is part of a six-poem collection by Petrarca (1304-1374) entitled I trionfi. These poems describe life stages by depicting duels that confront different virtues: Fame defeats Death, but is in turn defeated by Time and Eternity. In the backstage of the theater, beyond the stage, Marie-Caroline Hominal receives one guest at a time, eliminating the codes of theatrical artifice, choosing instead a one-to-one encounter.

Duration: 15 minutes.

Madmoiselle Marie-Caroline Hominal is supported by the City of Geneva, the Canton of Geneva and Pro Helvetia, Swiss foundation for culture.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Inside the Practice: Some Thoughts on the Body of a Dancer and the concept of labor.

The lecture will address the political potentiality of the dancing body, focusing particularly on the notion of practice. The work of some young choreographers will be taken as a reference, challenging the formats of performance representation and exchange.

May 14th
18 hs.

C Complejo Art_media
Av. Corrientes 6271 – CABA 

Free admission.

Conference

Paradox of the new institution: on time and imagination

Special attention will be paid to the perspective of time, disclosing the crucial role imagination has in how performance is produced and shared

May 15th
18 hs.

C Complejo Art_media
Av. Corrientes 6271 – CABA 

Free admission.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

Opening May 15th
19.30 hs.
May 16th to 31th
Tuesday to saturday from 14 to 20 hs.

Urquiza
Pje. Giuffra 370 – CABA

Free admission.

Urquiza Librería/Galería joins the BP.19 with a two-fold proposal: the exhibit by Juan Reos, courtesy of Galería Atocha, and a wide range of publications on performance.

In Antes. Un mundo sin reliquias (2017) Reos recreates iconic works and performance episodes of Argentine art in the 60’s using engraving, choosing pieces that were never documented and of which there are only stories, ambiguous and ever-changing. Ten etchings/aquatint prints (also included in a book by the artist) combined with a fictional narration ”take record” of undocumented performances done by the first neo-avant-garde Argentine artists, with pieces such as Carta a Romero Brest, Las fuentes rojas, Bonino aclara ciertas dudas, Tumba de Tut Ank Amon, Greco puto, La pelea, Poesía urbana, El piolín. In this way, they propose an imaginary game with the limits of representation and our historical imagination. On the other hand, throughout the BP19, a specialized panel on performance books and catalogues will be offered for those seeking to become familiar with the discipline.

Public space

Recommended for participants over 18.

Free tickets with prior registration available from April 22nd to May 3rd. The participants will be selected by the artist, who will communicate with each of them to coordinate the details. Registration does not ensure participation.

In Bento’s sketchbook, John Berger draws an analogy between the act of driving a motorcycle and drawing. This performance-experience explores this merger. The proposal is simple: the artist (driver) takes a viewer (passenger) to drive around in his motorcycle with a specific purpose (running errands; deliver a letter; visiting a person or a place, or simply wandering about the city). The body of the performer is offered as the trigger of an eternal movement of bodies. An agreement based on trust; leading, accompanying. A temporary union. Stability and movement. The weight of two balanced bodies, moving about the space, together with the visual record of said movement. The possibility of saying: ”I was here, and moved in that direction”. Thinking about the motorcycle’s trajectory like a line drawn on the floor. Understanding that not only do we have a body that sets us apart from others, but that we are a body incorporated into an extensive, symbolic matrix; the body as a sign, par excellence, of mobility and transformation.

Creation and performance: Lisandro Rodríguez
Production and artistic assistance: Carla Petrillo
Artistic collaboration: Martín Seijo and Diego Vainer
Executive production: Débora Staiff, Índigo Producciones

Registration ended on May 3rd.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Opening May 15th
19.30 hs.
May 16th to 31th
Tuesday to saturday from 14 to 20 hs.

Urquiza
Pje. Giuffra 370 – CABA

Free admission.

Urquiza Librería/Galería joins the BP.19 with a two-fold proposal: the exhibit by Juan Reos, courtesy of Galería Atocha, and a wide range of publications on performance.

In Antes. Un mundo sin reliquias (2017) Reos recreates iconic works and performance episodes of Argentine art in the 60’s using engraving, choosing pieces that were never documented and of which there are only stories, ambiguous and ever-changing. Ten etchings/aquatint prints (also included in a book by the artist) combined with a fictional narration ”take record” of undocumented performances done by the first neo-avant-garde Argentine artists, with pieces such as Carta a Romero Brest, Las fuentes rojas, Bonino aclara ciertas dudas, Tumba de Tut Ank Amon, Greco puto, La pelea, Poesía urbana, El piolín. In this way, they propose an imaginary game with the limits of representation and our historical imagination. On the other hand, throughout the BP19, a specialized panel on performance books and catalogues will be offered for those seeking to become familiar with the discipline.

May 16th
14.30 to 19 hs.

Centro Cultural Recoleta
Junín 1930 – CABA

Sold out.

It is recommended for people over 18 years old.
 
“The triumph of fame” is part of a six-poem collection by Petrarca (1304-1374) entitled I trionfi. These poems describe life stages by depicting duels that confront different virtues: Fame defeats Death, but is in turn defeated by Time and Eternity. In the backstage of the theater, beyond the stage, Marie-Caroline Hominal receives one guest at a time, eliminating the codes of theatrical artifice, choosing instead a one-to-one encounter.

Duration: 15 minutes.

Madmoiselle Marie-Caroline Hominal is supported by the City of Geneva, the Canton of Geneva and Pro Helvetia, Swiss foundation for culture.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

Recommended for people over 16 years old.

Four nude human bodies: four people asleep. They are taking a break from the world outside, inside their dreams. We cannot know what they are dreaming, but we can hear and smell a few hints. In order to do this, we need to go close to the sleepers. In this moment of careful approximation, the subconscious morality of touch, the ethics of proximity appears. To what extent can I make my body present next to a person who is absent while dreaming? This approach, with more of a regard than a gaze, defines the viewer as someone ”eavesdropping” on someone else. Being close to the sleepers without waking them, simply contemplating them in their perfect innocence. Welcome to the ”hypnodromer” of Cerca: soon, the dream-like environment will also surround the ”eavesdropper” who will believe to be fully lucid.

Idea and general direction: Alejandro Ros and Pablo Schanton
Actors: Leandra Levine, Mariana Moreno, Erica D´Alessandro, Mariano Rapetti and Juan Pablo Sierra
Smell design: International Flavors & Fragrances (IFF Argentina)
Sound design: Aldo Benítez and Roger Delahaye

MALBA (Museo de Arte Latinoamericano de Buenos Aires)
Av. Figueroa Alcorta 3415 – CABA

Free admission (Tickets can be withdrawn in MALBA from May 2nd).

19th century bourgeoisie invented the cinematographer to capture randomness, the non-premeditated and contingent: the world and its events. A few years later, with the appearance of the masses, it found a different purpose: multiplying representations at the lowest possible cost. Paradoxically, this was how films became a medium but also a mechanical product for entertainment, whose process of manufacturing avoided all unpredictability. From there on, the reiteration of the spectacle (and the spectacle of reiteration) coexists with different forms of intromission of that first performance impulse, be it for the deliberate decision of the filmmaker or a demand imposed by the material conditions, or even because of the timely intervention of the accident.

Cine y Performance invites the audience to revisit a historical selection of feature films which, in line with the BP 19 programming and accompanied by lectures given by specialists from different fields, planned for each screening, allow them to reflect upon this tension and its implications for current performance practices.

Thursday May 16th
18.30 hs.
La passion de Jeanne d’Arc (Carl Dreyer, 1928).

35 mm screening with live music by Fernando Kabusacki and Matías Mango. In connection with Ethica. Natura e origine della mente, by Romeo Castellucci.

The show will be preceded by Una vez más, el alma, dialogue between Hugo Salas and Hugo Mujica.

Hugo Mujica was born in Buenos Aires in 1942. A poet and essayist, he studied Fine Arts, Philosophy, Philosophical Anthropology and Theology. He was part of the New York psychedelia of the 60s, explored mystics, led a monastic life during seven years, was ordained as a priest and was in charge of a Parrish in Buenos Aires until he retired from the religious activity. This wide range of studies and experiences are reflected in the diversity of his work, encompassing philosophy and anthropology, narrative, mystics and particularly, poetry.

21 hs.
Metropolis (Fritz Lang, 1927).

35 mm screening with live music by Fernando Kabusacki and Matías Mango, featuring the restored copy in full.  In connection with Last Spring: A Prequel, by Gisèle Vienne. The show will be preceded by El cyborg, una fantasía sobre la naturalidad del cuerpo, a dialogue between the curator and Florencia Garramuño.

Florencia Garramuño was born in Rosario in 1964 and specializes in literary theory and Latin American literature. She obtained her PhD at Princeton University and a post doctorate degree at the Universidad Federal do Rio de Janeiro. She is an independent researcher at CONICET and Director of the Program for Brazilian Culture at Universidad de San Andrés. She has published several articles and essays in local and foreign magazines and has edited various individual and collective texts.

Thursday May 23
18.30 hs.
The General (Buster Keaton, 1926).

16 mm screening with live music by Fernando Kabusacki and Matías Mango. In connection with Los trabajos y los días, by Esteban Feune de Colombi. The show will be preceded by La clase trabajadora en un mundo sin trabajo, dialogue between the curator and Alcira Argumedo.

Alcira Argumedo was born in Rosario in 1940. A sociologist and university professor, she collaborated at the end of the 60s with Cine de la Base, contributing to the clandestine dissemination of La hora de los hornos. She was also part of the National Chair of the School of Philosophy and Letters of UBA. During her exile in Mexico in the times of the military dictatorship, she worked at the Instituto Latinoamericano de Estudios Transnacionales, with writers such as Gabriel García Márquez, Darcy Ribeiro and Juan Somavía. Upon returning to Argentina, she was elected national congresswoman for two consecutive terms.

21 hs.
Terra em transe (Glauber Rocha, 1967).

Restored 35 mm screening. In connection with La remPlaza by Julián D’Angiolillo.

The show will be preceded by La actualidad como construcción, la actualidad como realidad, dialogue between the curator and Miriam Lewin.

Miriam Lewin was born in Buenos Aires in 1957 and specializes in investigative journalism. During the 70s, she was an activist of the leftist Peronist movement. She was detained-disappeared in the Virrey Cevallos and ESMA clandestine detention centers. She has headed or been part of the investigation teams of the main TV and radio news shows of the country. She has written journalism pieces, children’s books, memoirs, scripts for radio and non-fiction novels.

Thursday May 30
18.30 hs.

Alphaville (Jean-Luc Godard, 1965). Restored 35 mm screening. In connection with WANT TO BE AN ARTIST?, by Young-Hae Chang Heavy Industries.

The show will be preceded by La escritura como objeto visual, dialogue between Hugo Salas and Pablo Cosgaya.

Pablo Cosgaya was born in Rosario in 1965. He is a graphic designer specialized in institutional image, editorial design and typography. Since 1992, together with Marcela Romero, he runs Estudio Cosgaya, which has participated in many national and regional projects including the signaling for urban transportation in the city of Buenos Aires. He is a member of the International Typography Association and a founding member of the Tipos Latinos collective. He is a Tenured Professor of typography in the Graphic Design Program of FADU / UBA and teaches the Master’s program in typography.

21 hs.
Sedmikrásky (Vera Chytilova, 1966).

35 mm screening. In connection with 1999, AVE DIA by Osías Yanov.

The show will be preceded by La intervención y la fiesta, espacios de intervención en la escena porteña de 1980 y 1990, dialogue between the curator and Katja Alemann.

Katja Alemann was born in Buenos Aires in 1957. She is an actress, singer, writer and performer. She started her career in the independent theater scene in 1979. In 1982, she began creating shows with Omar Chabán at Café Einstein, and was later an active participant of the independent cultural movement, working relentlessly as a performer in the emblematic venue Cemento, which she co-founded. She is also the creator of the NGO ReciclARTE, which carries out different artistic actions and interventions aimed at raising awareness on the impact of recycling on the environment.

ABOUT THE CURATOR

Hugo Salas was born in Caleta Olivia in 1976. A critic, translator and writer, he studied Cinematography and Camera Direction and holds a Master’s degree in Literature. For several years, he worked as a critic and journalist for different media, including Radar (Página/12), Ñ (Clarín), Review and Los inrockuptibles. He has translated into Spanish the works of Derek Jarman, Sarah Ahmed, Helen Hester, Homi K. Bhabha and Gerald Cohen. He is also a university professor, and his literary production mostly comprises narrative works.

May 16th
20 hs.

Centro Cultural Recoleta
Junín 1930 – CABA

REGISTRATION

MALBA (Museo de Arte Latinoamericano de Buenos Aires)
Av. Figueroa Alcorta 3415 – CABA

Free admission (Tickets can be withdrawn in MALBA from May 2nd).

19th century bourgeoisie invented the cinematographer to capture randomness, the non-premeditated and contingent: the world and its events. A few years later, with the appearance of the masses, it found a different purpose: multiplying representations at the lowest possible cost. Paradoxically, this was how films became a medium but also a mechanical product for entertainment, whose process of manufacturing avoided all unpredictability. From there on, the reiteration of the spectacle (and the spectacle of reiteration) coexists with different forms of intromission of that first performance impulse, be it for the deliberate decision of the filmmaker or a demand imposed by the material conditions, or even because of the timely intervention of the accident.

Cine y Performance invites the audience to revisit a historical selection of feature films which, in line with the BP 19 programming and accompanied by lectures given by specialists from different fields, planned for each screening, allow them to reflect upon this tension and its implications for current performance practices.

Thursday May 16th
18.30 hs.
La passion de Jeanne d’Arc (Carl Dreyer, 1928).

35 mm screening with live music by Fernando Kabusacki and Matías Mango. In connection with Ethica. Natura e origine della mente, by Romeo Castellucci.

The show will be preceded by Una vez más, el alma, dialogue between Hugo Salas and Hugo Mujica.

Hugo Mujica was born in Buenos Aires in 1942. A poet and essayist, he studied Fine Arts, Philosophy, Philosophical Anthropology and Theology. He was part of the New York psychedelia of the 60s, explored mystics, led a monastic life during seven years, was ordained as a priest and was in charge of a Parrish in Buenos Aires until he retired from the religious activity. This wide range of studies and experiences are reflected in the diversity of his work, encompassing philosophy and anthropology, narrative, mystics and particularly, poetry.

21 hs.
Metropolis (Fritz Lang, 1927).

35 mm screening with live music by Fernando Kabusacki and Matías Mango, featuring the restored copy in full.  In connection with Last Spring: A Prequel, by Gisèle Vienne. The show will be preceded by El cyborg, una fantasía sobre la naturalidad del cuerpo, a dialogue between the curator and Florencia Garramuño.

Florencia Garramuño was born in Rosario in 1964 and specializes in literary theory and Latin American literature. She obtained her PhD at Princeton University and a post doctorate degree at the Universidad Federal do Rio de Janeiro. She is an independent researcher at CONICET and Director of the Program for Brazilian Culture at Universidad de San Andrés. She has published several articles and essays in local and foreign magazines and has edited various individual and collective texts.

Thursday May 23
18.30 hs.
The General (Buster Keaton, 1926).

16 mm screening with live music by Fernando Kabusacki and Matías Mango. In connection with Los trabajos y los días, by Esteban Feune de Colombi. The show will be preceded by La clase trabajadora en un mundo sin trabajo, dialogue between the curator and Alcira Argumedo.

Alcira Argumedo was born in Rosario in 1940. A sociologist and university professor, she collaborated at the end of the 60s with Cine de la Base, contributing to the clandestine dissemination of La hora de los hornos. She was also part of the National Chair of the School of Philosophy and Letters of UBA. During her exile in Mexico in the times of the military dictatorship, she worked at the Instituto Latinoamericano de Estudios Transnacionales, with writers such as Gabriel García Márquez, Darcy Ribeiro and Juan Somavía. Upon returning to Argentina, she was elected national congresswoman for two consecutive terms.

21 hs.
Terra em transe (Glauber Rocha, 1967).

Restored 35 mm screening. In connection with La remPlaza by Julián D’Angiolillo.

The show will be preceded by La actualidad como construcción, la actualidad como realidad, dialogue between the curator and Miriam Lewin.

Miriam Lewin was born in Buenos Aires in 1957 and specializes in investigative journalism. During the 70s, she was an activist of the leftist Peronist movement. She was detained-disappeared in the Virrey Cevallos and ESMA clandestine detention centers. She has headed or been part of the investigation teams of the main TV and radio news shows of the country. She has written journalism pieces, children’s books, memoirs, scripts for radio and non-fiction novels.

Thursday May 30
18.30 hs.

Alphaville (Jean-Luc Godard, 1965). Restored 35 mm screening. In connection with WANT TO BE AN ARTIST?, by Young-Hae Chang Heavy Industries.

The show will be preceded by La escritura como objeto visual, dialogue between Hugo Salas and Pablo Cosgaya.

Pablo Cosgaya was born in Rosario in 1965. He is a graphic designer specialized in institutional image, editorial design and typography. Since 1992, together with Marcela Romero, he runs Estudio Cosgaya, which has participated in many national and regional projects including the signaling for urban transportation in the city of Buenos Aires. He is a member of the International Typography Association and a founding member of the Tipos Latinos collective. He is a Tenured Professor of typography in the Graphic Design Program of FADU / UBA and teaches the Master’s program in typography.

21 hs.
Sedmikrásky (Vera Chytilova, 1966).

35 mm screening. In connection with 1999, AVE DIA by Osías Yanov.

The show will be preceded by La intervención y la fiesta, espacios de intervención en la escena porteña de 1980 y 1990, dialogue between the curator and Katja Alemann.

Katja Alemann was born in Buenos Aires in 1957. She is an actress, singer, writer and performer. She started her career in the independent theater scene in 1979. In 1982, she began creating shows with Omar Chabán at Café Einstein, and was later an active participant of the independent cultural movement, working relentlessly as a performer in the emblematic venue Cemento, which she co-founded. She is also the creator of the NGO ReciclARTE, which carries out different artistic actions and interventions aimed at raising awareness on the impact of recycling on the environment.

ABOUT THE CURATOR

Hugo Salas was born in Caleta Olivia in 1976. A critic, translator and writer, he studied Cinematography and Camera Direction and holds a Master’s degree in Literature. For several years, he worked as a critic and journalist for different media, including Radar (Página/12), Ñ (Clarín), Review and Los inrockuptibles. He has translated into Spanish the works of Derek Jarman, Sarah Ahmed, Helen Hester, Homi K. Bhabha and Gerald Cohen. He is also a university professor, and his literary production mostly comprises narrative works.

Public space

Recommended for participants over 18.

Free tickets with prior registration available from April 22nd to May 3rd. The participants will be selected by the artist, who will communicate with each of them to coordinate the details. Registration does not ensure participation.

In Bento’s sketchbook, John Berger draws an analogy between the act of driving a motorcycle and drawing. This performance-experience explores this merger. The proposal is simple: the artist (driver) takes a viewer (passenger) to drive around in his motorcycle with a specific purpose (running errands; deliver a letter; visiting a person or a place, or simply wandering about the city). The body of the performer is offered as the trigger of an eternal movement of bodies. An agreement based on trust; leading, accompanying. A temporary union. Stability and movement. The weight of two balanced bodies, moving about the space, together with the visual record of said movement. The possibility of saying: ”I was here, and moved in that direction”. Thinking about the motorcycle’s trajectory like a line drawn on the floor. Understanding that not only do we have a body that sets us apart from others, but that we are a body incorporated into an extensive, symbolic matrix; the body as a sign, par excellence, of mobility and transformation.

Creation and performance: Lisandro Rodríguez
Production and artistic assistance: Carla Petrillo
Artistic collaboration: Martín Seijo and Diego Vainer
Executive production: Débora Staiff, Índigo Producciones

Registration ended on May 3rd.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Opening May 15th
19.30 hs.
May 16th to 31th
Tuesday to saturday from 14 to 20 hs.

Urquiza
Pje. Giuffra 370 – CABA

Free admission.

Urquiza Librería/Galería joins the BP.19 with a two-fold proposal: the exhibit by Juan Reos, courtesy of Galería Atocha, and a wide range of publications on performance.

In Antes. Un mundo sin reliquias (2017) Reos recreates iconic works and performance episodes of Argentine art in the 60’s using engraving, choosing pieces that were never documented and of which there are only stories, ambiguous and ever-changing. Ten etchings/aquatint prints (also included in a book by the artist) combined with a fictional narration ”take record” of undocumented performances done by the first neo-avant-garde Argentine artists, with pieces such as Carta a Romero Brest, Las fuentes rojas, Bonino aclara ciertas dudas, Tumba de Tut Ank Amon, Greco puto, La pelea, Poesía urbana, El piolín. In this way, they propose an imaginary game with the limits of representation and our historical imagination. On the other hand, throughout the BP19, a specialized panel on performance books and catalogues will be offered for those seeking to become familiar with the discipline.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.

C Complejo art_media
Av. Corrientes 6271 – CABA

Free admission.

¿Sangre o kétchup? Transubstanciaciones by Emilio García Wehbi (Argentina) and José Alejandro Restrepo (Colombia) is the first book in the collection entitled ”Acciones de escritura” published by Ediciones DocumentA/Escénicas. Born from a piece that premiered at BP17, this mise-en-scène takes place inside a device similar to a book: it showcases an experience of live assembly using images proposed and associated by both artists to generate a collision of perspectives and readings. The action articulates with the commotion created in García Wehbi and Restrepo by a statement made by Marina Abramovic: ”The difference between theater and performance is that in performance, blood is blood, and in theater, blood is ketchup”. From this perspective, both artists focus the dialogue on the tension between the real and the fictional in art, and reality in the times of ”post-truth”, transversally exploring art history, their own artistic experiences and the narration of reality by the mass media. What is real can -and usually does- become fiction, and vice versa; the premise based on which the limits separating real from symbolic have blurred and/or changed, feeding off each other, transubstantiating themselves to generate dilemmas between representation and presentation. In this book, every action is a thought that is embodied based on each montage of images.

From May 10 to July 31
Tuesday to Friday, from 11 a.m. to 8 p.m. Saturdays and Sundays, from 10 a.m. to 8 p.m.

Museo Nacional de Bellas Artes (MNBA)
Av. del Libertador 1473 – CABA

Free admission.

LAST SPRING: A Prequel

LAST SPRING: A Prequel features a teenager, personified by a ventriloquist, animated doll, who interprets a schizophrenic dialogue with a glove puppet. Together, they evoke a space of uncertain realities for the spectator. The teenager has tried obsessively to draw the blueprints of this other space, whose architecture is reminiscent of a game. And so he reveals, in addition, the architecture of the space through the structure of the text he is interpreting…and is revealed as trapped in his own dialogue. This fake charlatan allows the viewer to obscurely discover the main axes of the game, and shows the psychosis form which he cannot escape.

Idea and direction: Gisèle Vienne
Text and dramaturgy: Dennis Cooper
Voice: Jonathan Capdevielle
Music: Peter Rehberg and Stephen O’Malley
Lighting: Patrick Riou
Light direction: Arnaud Lavisse
Direction of puppets and animation: Raphaël Rubbens, Dorothéa Vienne-Pollak, Nicolas Herlin (CLSFX) and Gisèle Vienne
Murals: Stephen O’Malley
Sound installation and programming: Gérard d’Elia and Adrien Michel
Electronic direction and programming of robotized puppets: Nicolas Darrot
Executive production: DACM

LAST SPRING: A Prequel is a co-propduction between Le Quartz, Scène Nationale de Brest, Le Parvis, Scène Nationale de Tarbes – Pyrénées and Centre Pompidou de París. It received the support of Centre d’Art Passerelle – Brest, of the Espace HARD HAT – Geneva and the Conseil Général de l’Isère.

La Compagnie DACM works in agreement with the Ministère de la Culture et de la Communication – DRAC Grand Est, the Région Grand Est and the Ville de Strasbourg.

Gisèle Vienne regularly receives funding from the Institut Français – Ministère des Affaires Étrangères for tours aborad and is an associated artist of the Théâtre Nanterre-Amandiers, Centre Dramatique National and the Théâtre National de Bretagne.

40 portraits

< 2003-2008 >
Photographs of Gisèle Vienne

Opening May 15th
19.30 hs.
May 16th to 31th
Tuesday to saturday from 14 to 20 hs.

Urquiza
Pje. Giuffra 370 – CABA

Free admission.

Urquiza Librería/Galería joins the BP.19 with a two-fold proposal: the exhibit by Juan Reos, courtesy of Galería Atocha, and a wide range of publications on performance.

In Antes. Un mundo sin reliquias (2017) Reos recreates iconic works and performance episodes of Argentine art in the 60’s using engraving, choosing pieces that were never documented and of which there are only stories, ambiguous and ever-changing. Ten etchings/aquatint prints (also included in a book by the artist) combined with a fictional narration ”take record” of undocumented performances done by the first neo-avant-garde Argentine artists, with pieces such as Carta a Romero Brest, Las fuentes rojas, Bonino aclara ciertas dudas, Tumba de Tut Ank Amon, Greco puto, La pelea, Poesía urbana, El piolín. In this way, they propose an imaginary game with the limits of representation and our historical imagination. On the other hand, throughout the BP19, a specialized panel on performance books and catalogues will be offered for those seeking to become familiar with the discipline.

REGISTRATION

Installation:
May 12th
17 to 20 hs.
May 14th to 18th
15 to 20 hs.

Free admission.

C Complejo Art_media
Av. Corrientes 6271 – CABA

Artists can be divided into two large groups: those whose work is distant from their real life, and those whose existence is inseparably immersed in their aesthetic production, blurring the limits between life and work. Nora Lezano belongs to the second group. Her work is deeply influenced by her desires, her history, her fears, her pains, her fantasies, her terrors. There always seems to be something ticking in her work, about to explode. It is as if the artist were capturing -maybe because of her astonishing ability to block the shutter at the exact right moment- the precise instant before something flourishes or falls apart. Inventarioworks as a farewell from an intense past, voracious and tormenting at the same time, in which the Nora of yesterday, in order to become who she is today, opens up her personal archive. Lezano displays traces and evidence from her life and work, showing her best professional and personal photographs, vestiges of her early childhood, letters from high-school sweethearts, painted t-shirts, drawings, tridimensional pieces, diaries, memorabilia, audio cassettes from answering machines, works created by other artists for her, and finally landing in the universe of rock, featuring playlists, autographs, badges, drawings and photos of popular musicians, both local and international. The exhibit becomes a two-fold testimony of an artist who cannot be easily labeled: on one hand, her brave obsession for capturing and carefully treasuring and recording her life and environment; and second, the constant search for what moves and challenges her, what attracts or repels her, what she desires and despises at the same time: some peace and quiet.

Emilio García Wehbi

Exhibit

Curated by: Emilio García Wehbi.

Technical and production assistance: Amalia Tercelán, Martín Antuña.

Editor: Fernando Savio

Performance / film

Curated by: Emilio García Wehbi

Film editing: Martín Antuña, Nora Lezano

Audio mix and mastering: Andrés Mayo, Nicolás Durán Blanco

Acknowledgements: Verónica Odriozola, Ramiro González, Marina Fernández Curutchet, Sofía Abt, Mariano Di Césare, Denise Mayo, Virginia Lioy, Rubén Andón, Violeta Weinschelbaum, Mariano Madueña, Ximena Niederhauser, Mauro López, Lisandro Rodríguez, Soni Rojas, Víctor Moser, Patricio Foglia, Tute, Jorge Araujo, César Silva, Alejandro Pippa, Leticia Starc, Cecilia Estalles, Mono Espacio, Adrián Buono, Maricel Álvarez and my parents, Nilma Enrico and David Lezano.