After an era of shouting, there will be an era of listening
by Tuomas Laitinen
Photo: Tuomas Laitinen
In the tradition of art manifestos, writers have aimed to revolutionize contemporary art and/or society through awakening their audience - helping them to realize something that the writers already have realized. In this attempt, they tend to end up with universalizing statements about the future of art.
An audience, by contrast, is always specific to site, time and composition. Audiencing is a receptive event, and as such its conditions are different from a declarative text, such as a manifesto, or a descriptive text, such as this one. The audience does not manifest.
If artist have their audience and researchers their collegial communities, what will artist-reseachers have? What will replace the notion of the audience? Who are they?
After an era of listening, what will be?
Duration 45 minutes.
Tuomas Laitinen is a director, performance artist and writer. His artistic practice has revolved around inventing new forms of performance based on the bodily experience of the audience and on questioning the nature of spectatorship. His works have taken for example the forms of retreats, family gatherings, rituals of encounter, 7-day mystery plays, pole dances in living rooms or practices of immortality. Since 2005 his artistic home base has been Reality Research Center, a Helsinki-based experimental performative arts collective. He worked in the editorial board of Esitys-magazine in 2007-17, has written reviews and articles in Finnish non-academic publications and is the co-editor of Esitysradio-podcast and Ice Hole Live Art Journal. Throughout his career he has been active in creating organizational foundations for the unorganized field of live art in Finland. In 2017 he started as a doctoral candidate at the Theater Academy of Uniarts Helsinki.
Rach Does Dancing - A solo performative lecture, disguised as a dance performance
by Rachel Krische
Photo: Jane Beckley
‘I will be dancing a lot, using loads of twitchy movement, and I’ll probably say something. If I have time, I might sing a song...” Krische, 2019
Rach Does dancing: Is a rallying cry for a joyful de-commodification of a sort, in a kind of ‘playful two fingers up to’ concrete stuff and a ‘hurrah’ for new forms of experimental intersubjective communication norms for the future human race.
She attempts (but might fail) to uncover that an artistic doctorate is a lot of different things depending on what you know. Perhaps that an artistic doctorate:
- can be a firm, yet joyful, vehicle to support a universal equality between words and movement - equalising the value of movement for the word inclined and words for the movement inclined
- can be the meeting point of logic and the bonkers - or what is not yet known - in order for the bonkers to possibly become, yep, logical
- can provide incontrovertible proof that dancing is an intellectual as well as joyful, spectacular and accessible articulation of knowledge, both explicit and tacit, in and of itself - Yeah!
Dr Rachel Krische (Leeds Beckett University, UK). With a career spanning 26 years as an Independent Dance Artist, Dr Rachel Krische has performed, made work and taught extensively and internationally including in: Europe, Scandinavia, Russia, Azerbaijan, India, Bangladesh, China, Taiwan, Hong Kong, Australia, New Zealand, USA and the UK. She has collaborated and performed with over 30 artists such as Deborah Hay, La Ribot, Wendy Houstoun, Akram Khan, Colin Poole, Matthias Sperling, Siobhan Davies and cellist Anton Lukoszevieze, as well as presenting her own solo improvisation work. She also won the Jerwood Choreography Award with Ben Wright in 2002. Rachel is published in Choreographic Practices and has a forthcoming book chapter in Body, Space, Object: Dialogues between Art and Dance. She is currently HEA Senior Fellow and Senior Lecturer in BA Dance and MA Choreography at Leeds Beckett University after writing and establishing the initial undergraduate dance programme there in 2010.
The Body, Desire for a Manifesto underneath the Skin
by Anne Juren
Photo: Roland Rauschmeier
A Manifesto for the Future is an action that refers to a dislocation and also to a belonging. A place that is not the one you live and a time that is not the one of right now, defined as they are by dissatisfactions, refusals and faults. A Manifesto is, therefore, a projection of a territory and a moment in which desires and rights are in some way satisfied and observed. Any manifesto, therefore, is always formulated by a subject that occupies a certain position in the world.
I would like to propose the body as a place for the Manifesto. I would like to explore how phantasms of the future could trouble established notions of anatomy. How can new imaginations, new thoughts, new perceptions of the subject body can be inscribed into the sensation itself? Is an action possible inside this entanglement of perceptive events? How far can we go with the body's transformation, with its disfiguration, together with the person in whose body the Manifesto is taking place?
Anne Juren, born in Grenoble/France is a choreographer, dancer and performer based in Vienna. In 2003, she cofounded the association Wiener Tanz- und Kunstbewegung in Vienna. Her choreographic works and artistic researches have been extensively presented in international theatres, festivals, and di!erent art spaces and venues. Since 2015, she develops choreographic works under the name Studies on Fantasmical Anatomy, as an ongoing research that expands the term choreography in engaging the body in di!erent states of corporeal, poetic, fantastical, speculative, imaginative dimensions and experiences. Since 2013, Anne Juren is \u2028a practitioner. She was part of the artistic committee for the Master in Choreography at DOCH (2014-2018) and is currently\u2028 a PhD candidate at UNIARTS Stockholm University of the Arts. In 2019, she will be a mentor of the danceWEB Scholarship Programme at ImPulsTanz.