From November 9-15th we have the pleasure to be partnering with The International Women Foundation at Building 98 in Marfa, TX for our lecture & performance series.
The theme is RHYTHM.
The Schedule is HERE.
We’re going to have lectures and performances from Chris Danowski, Meagan O’Shea, Claire Elizabeth Barratt, Susan Obermeyer, Linda Duvall, Adam Torres, Fatimah White, Mark Roth, Jeffrey Bussolini, Andrea Spaziani, and Allen Ferguson, and a nightly film festival entitled HARD TO WATCH.
Tickets are $150 for the week long residency. We have a flat price for the week, although most of our programming will take place on the weekend of the 10th, 11th, and 12, all days will have programming. You paypal us and you’ll get a wristband when you arrive.
If the link is not working, send $150 here:
This includes access to 1-3 immersive lectures/concerts/readings/artist talks a day, a small breakfast and a nice dinner, and a film screening/party in the evening. There will also be down time to socialize and meet people and informal hikes, swims and performances. Basically you’ll get to hang out with us all day.
In the evenings we will end with a single or double feature from the HARD TO WATCH film festival, often with a themed meal.
Nothing living is static. Pulse, striations in rock, erosion, animated cartoons, a conversation, expectation.
The power of rhythm is tied to the perception of time, movement, drama, and life itself. The moment a rhythm is established, Nietzsche states “Everything suddenly moves according to a new law: not, indeed, as if the old ones no longer dominate, but rather in that they are fixed (or attuned).” There are an infinite number of rhythms happening everywhere and all the time. In this movement workshop we will attune our bodies to the ‘new law’s or rhythms that we notice within our immediate environment, or produce ourselves. We will consider impossible jazz, time-rhythm vs affect rhythm, shopping, binding power, untranslatable comedy, moments in history when dance stopped moving, moments in history when dance stopped listening to music, habit, flow, and walking with Laurie Anderson, and respect for ambiguity.
We will physically embody the following four categories of rhythm:
1) Regular and Repeating
2) Irregular and Repeating
3) Regular and Non-repeating
4) Irregular and Non-repeating
We wont stop moving for several hours.
A REAL AND IMAGINED ANATOMY OF LIFE
A live document of global mobility and migrant artistry
As artists we are nomadic or we travel out of necessity or curiosity. We are migrant artists. Rarely is there enough work to sustain us in one location, and rarely are we satisfied with staying still. There is much to be said for adventure, expanding horizons, and collecting experiences, there is also a challenge to not having a home, to being always on the move. Delving into our work requires one kind of energy, being in new situations requires another. How do they feed each other, how do we reconcile these realities? The Real and Imagined Anatomy of Life gives players a chance to contemplate this and audience a chance to observe.
This performance accumulates over time and place, each iteration brings something of the one before to it. It is a way of creating community, visualizing overlap, migration routes of artists, nomadic cycles, archive of body of work/place.
CLAIRE ELIZABETH BARRAT (aka CILLA VEE)
THE RHYTHM OF LIGHT & SHADOW
Four explorations into the body’s experience of light and shadow:
1. Breakfast Hijincks,
2. High Noon Pulsations,
3. Late Afternoon Long Shadows,
4. Night Time Light Motion.
How can the body manipulate light & shadow?
How can light & shadow manipulate the body?
Do we embody metaphorical light & shadow according to environmental light & shadow?
Body casting shadow.
Body in the light.
Body in the shadows.
Body casting light.
Seeking rhythm of light & shadow play.
(For High Noon Pulsations, bring sunscreen, water and a blanket to lay on.
For Late Afternoon Long Shadows, bring objects to cast interesting shadows)
REACQUIRING CYCLES OF LIGHT:
There is rhythm in storytelling that can illuminate cycles of light.
Storytelling in indigenous cultures sustain communities, validates experiences, and expresses experiences of Indigenous peoples, nurturing lasting relationships by sharing of knowledge. The power of indigenous science lies in its ability to connect and perceive patterns across vast cycles of space and time. Indigenous science collapses time and space, overlapping with past and present. In this lecture i will explain why building, “cycles of light,” and stories of light within communities across the globe is important in continuing what i call, “Life rhythm,” in our universe.
FATIMAH WHITE is an interdisciplinary artist and author, living in Bronx New York. Her work evokes the powers that exist within the interconnectedness of light and time; exploring themes of Storytelling,Time, physics, indigenous astronomy and futurism. She holds an International Masters Degree of Fine Arts in Creative Practice from the University of Plymouth. The roots of her creative practice are embedded in the individual patterns that evoke the innate human story. The purpose of her work is to reactivate cycles of change and empowerment by unearthing the hidden knowledge of indigenous futurism. She has exhibited internationally in cities such as Berlin, New York, India and Addis Abba Ethiopia. www.fatimahwhite.com
IN THE HOLE (SKYPE LECTURE)
In the Hole is a short-term residency located in an eathen hole on Treaty 6 territory in rural Saskatchewan, Canada. Each resident will spend 6 hours each day in this hole as a participant in this residency. Residents can come for one day up to a maximum of 3 consecutive days.
The premise of this residency is that new knowledge comes from the concentrated interaction of people with varying knowledge bases and perspectives.
This hole in the ground is a possible site for conversation, contemplation, reading out loud, making sounds, or being silent. This is also about duration, about spending extended blocks of time surrounded by earth and sky, and one other person. This residency is open to anyone with an interest in exploring this experience regardless of age, artistic, educational or cultural background. Accessibility can be discussed.
This immersive experience provides an alternative model for participating in a residency. In this model the organizer of the residency is an active contributor in the entire process with the participant. In the Hole provides a context for looking directly at collaboration through an experiential lens.
Linda Duvall is a Saskatoon-based visual artist whose work exists at the intersection of collaboration, performance and conversation. Her hybrid practice addresses recurring themes of connection to place, grief and loss, and the many meanings of exclusion and absence. http://www.lindaduvall.com/
Through experimentations with Senses & Perception we’ll explore Breathing in Creative Practice; focusing on Keywords: Pulsation, Inhale, Exhale, Pressure, Energy, Consciousness and Line.
1:rhythmical throbbing or vibrating (as of an artery); also :a single beat or throb
2:a periodically recurring alternate increase and decrease of a quantity (such as pressure, volume, or voltage)
1:to draw in by breathing
2:to take in eagerly or greedily
1:to rise or be given off as vapor
1a :to breathe out
b :to give forth (gaseous matter) :emit
2archaic :to cause to be emitted in vapor
1a :the burden of physical or mental distress
b :the constraint of circumstance
2:the application of force to something by something else in direct contact with it :compression
4a :the action of a force against an opposing force
1a :dynamic quality
– narrative energy
b :the capacity of acting or being active
– intellectual energy
c :a usually positive spiritual force
– the energy flowing through all people
2:vigorous exertion of power :effort
– investing time and energy
3:a fundamental entity of nature that is transferred between parts of a system in the production of physical change within the system and usually regarded as the capacity for doing work
4:usable power (such as heat or electricity); also :the resources for producing such power
1:perceiving, apprehending, or noticing with a degree of controlled thought or observation
2archaic :sharing another’s knowledge or awareness of an inward state or outward fact
4:capable of or marked by thought, will, design, or perception
7:done or acting with critical awareness
1:a long, narrow mark or band
2 a length of cord, rope, wire, or other material serving a particular purpose
1 stand or be positioned at intervals along
synonymous- border, edge, fringe, bound, rim
SUSAN OBERMEYER earned her MFA through Plymouth University and her BA from The Evergreen State College. She has attended both The San Francisco Art Institute & Anderson Ranch courses in Colorado. Susan has attended several residencies in New York, Italy, and Berlin. Her work is shown and collected internationally. http://www.susanobermeyerstrauss.com/