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December 2012 – February 2013
(cover image) IBT13 Moon, In Between Time & Synth Media. (back cover) Mette Edverdsen, Black, part of 4 Days, photo by Gaetano Cammarota.
Contents
WELCOME Welcome to our new look brochure, and a busy Winter season of exhibitions and events, including the IBT13 international festival of performance. As well as refreshing the look of our printed matter we will be launching a new website in the New Year, which will be a lively ‘space for ideas’, with daily updates, online projects and archives, providing more opportunity for you to participate in discussions around the programme and to get involved in activities. Arnolfini’s mission is to foster artistic experiment and engagement across the contemporary arts, so it is really important that we have an active dialogue about new art and new ideas. Performance is very much in focus this season, building upon Arnolfini’s long history as a platform for live art. With major institutions such as Tate and MoMA, New York, embracing the art form it seems there is a real cultural urgency about this area of practice. After the Schimpfluch Carnival in December, the Performing Documents research project continues with new works by Blast Theory and Bodies in Flight. In January we launch 4 Days, a new quarterly platform for live experimentation which, as the title implies, will be an intensive four days of performative action. In February the exhibition Version Control explores the notion of performance in the expanded field of contemporary art, including a new commission by Tim Etchells made in response to Bruce Nauman’s iconic work, Violent Incident. Tim has also written the essay in the middle of this brochure, reflecting on ‘Performance Now’, and the live aspect of his project will have a premiere at the launch of IBT13 on St Valentine’s Day. IBT13 will take place from 14–17 February, with 50 art works and performances taking place across the city. Amongst the major new commissions and UK premieres, Kate McIntosh’s Worktable will be sited in a series of shipping containers on the quayside outside Arnolfini, whilst Simon Faithfull’s Fake Moon will rise each night above College Green. Join us for a Farewell Moon Feast on the last day of IBT13, and bring an instrument to take part in the Full Moon Orchestra, which will also mark the close of our year-long Parallel Universe series. Wishing you all the best in 2013! Tom Trevor, Director
Exhibitions 3 – 11 Live 12 – 20 Family 21 Screenings 22 – 27 Online Projects 25 Reading Room Events 25 Talks / Lectures 28 Bookshop 29 Café Bar 29 Support Us 30 Venue Hire 30 Visit Us 31
Arnolfini building, photo by Jamie Woodley.
Opening Hours Exhibition spaces open: Tuesday – Sunday 11 am – 6 pm Bookshop: See page 29 for full details Café Bar open: Daily from 10 am Christmas & New Year opening times are available online Admission to the exhibition spaces is free.
@arnolfiniarts www.arnolfini.org.uk
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Damien Roach, INFRA LION, 2012, photo by Jamie Woodley.
Saturday Exhibition Tours
EXHIBITION
Damien Roach INFRA LION Until Sunday 6 January 2013, free Artist Damien Roach has been developing a largescale new commission for Arnolfini’s foyer spaces titled INFRA LION, an anagram of Arnolfini’s name. Over the course of a year, a series of interventions have evolved across the building. Changes in the graphic identity of the institution, large pieces of stone, coloured lights, tinted glass, scents, and unexpected staff behaviour created subtle moments of surprise and invited visitors as well as the staff to take a new look at the familiar surroundings. Follow the project on twitter/INFRALION and interact live with the hashtag #infralion.
2 pm – 3 pm, free, no booking required meet in Arnolfini Foyer Each Saturday during Arnolfini’s exhibitions we offer informal tours by staff highlighting our thoughts on the themes and ideas behind the artwork. Visit arnolfini.org.uk for further details.
A Parallel Universe – alternative realities & co-existing worlds A Parallel Universe is a year-long series of exhibitions, performances and events, exploring the notion of multi-fold worlds – possible, parallel, fictional, desired worlds – worlds different to the one we live in, existing side by side with our own. Beginning in March 2012, the series has included exhibitions by Shilpa Gupta, Olivia Plender and Matti Braun, a year-long foyer project by Damien Roach, the group exhibition Superpower: Africa in Science Fiction and numerous performances, screenings and events. The series comes to a close this spring with the exhibition, Version Control.
Matti Braun, Bunta Garbo (detail), 2002, installation view, Arnolfini. (page 5) Matti Braun, foreground: R.T/S.R/V.S (since 2003), background: (L–R) Untitled, 2003, Untitled, 2003, Untitled, 2002, installation view, Arnolfini, photos by Jamie Woodley.
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Talk
EXHIBITION
Matti Braun Gost Log Until Sunday 6 January 2013, free #MattiBraun Gost Log presents a selection of key works by the Cologne-based artist Matti Braun from the last fifteen years, along with new works specifically made for the exhibition. His delicate paintings on silk, prints, objects and installations are often based on histories of specific people or ideas, but abstract away from these into his own formal explorations. The main gallery presents work R.T./S.R./V.S., a dark and shimmering lake in the exhibition space, which can be crossed over via logs. Central to Braun’s practice is a particular approach to referencing. Certain images, objects or names are deliberately employed, while leaving their meaning open in relation to the exhibition. The exhibition follows Braun’s ongoing interest in the history of crafts and includes a new series of slipware pottery that is produced in collaboration with Philip Leach in North Devon.
T’ai Smith Textile Media Thursday 6 December, 6.30 pm, £6/£4 concs Textiles hold a particular place between image and architecture. T’ai Smith (University of British Columbia, Vancouver) discusses the role of ‘fabric in space’ in the Bauhaus weaving studios. Talk
Nav Haq Friday 7 December, 5pm, free Nav Haq, Curator at MuHKA (Museum of Contemporary Art, Antwerp) will speak about the work of Matti Braun and the modernist ideal of universalism. Slide Lecture
Matti Braun Vikram Sarabhai Friday 7 December, 6.30 pm, £6/£4 concs Matti Braun presents a slide lecture about the Indian physicist Vikram Sarabhai (1919–1971), who is considered to be the ‘father’ of the Indian space programme. The talk unfolds a complex set of relationships, indicating the dynamics of cultural exchange through personal stories.
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Music / Performance
Keith Fullerton Whitman Saturday 2 February, 8 pm, £7 / 5 concs A special live performance by one of the foremost North American electronic musicians.
EXHIBITION
Version Control Saturday 2 February – Sunday 14 April, free #versioncontrol How do we relate to the world through images and objects? How is our vision of the past and the future affected, or transformed, by the contemporary information economy? Version Control is a large-scale survey exhibition about the notion of appropriation and performance in the expanded field of contemporary artistic practice. Instead of an understanding of performance as a live activity or connected to an exploration of the artist’s body, the exhibition explores performance in a radical sense as a method of making the past present. Performativity, in this way, explores the conscious moment of staging, appropriating, archiving and re-visiting images and other forms of representation, touching on questions of historiography, mediation, subjectivity, and ownership. The project will include works from artists of different generations and backgrounds, from visual art, theatre and digital culture, presenting film and video, painting, drawing and sculpture. Artists include Amalia Pica, Tim Etchells, Felix Gmelin, Melvin Moti and Rabih Mroué, amongst others. Through a series of interventions and ‘performing objects’, the exhibition will be itself performative and change over the course of the show. As part of the project, an extended series of live events will be presented in the galleries and the auditorium. Version Control is produced by Arnolfini in association with the collaborative AHRC – funded research project Performing Documents, hosted by the University of Bristol in partnership with the University of Exeter and In Between Time.
Dance / Performance
Rosemary Butcher: After Kaprow The Silent Room / Book Of Journeys Friday 8 February, 7.30 pm, £7 / £5 concs Choreographer Rosemary Butcher presents two filmworks, the first of which features performers. Initially a migration from past to future, Butcher suggests a narrative through movement and video that considers how inhabited interiors witness a history of repetitive and ritualistic behaviour. The second half reverses this process moving from future to past. Live Art / Performance
Tim Etchells featuring Wendy Houston Untitled (After Violent Incident) Thursday 14 February, 8 pm, free A performance informed by Tim Etchell’s return to the confrontation at the heart of Bruce Nauman’s Violent Incident as featured in Version Control. Houston dances live in the gallery to add to this concoction of versions, overseen by Etchells. This event is presented as part of IBT13, international festival of performance. Theatre / Performance
Andy Holden & David Raymond Conroy: Brief Interviews with Hideous Men (Adapted from the book by David Foster Wallace) Friday 22 February, 7pm, £5 A series of staged readings conceived and designed by artists Holden and Conroy with an original soundtrack by The Grubby Mitts. Actors perform extracts from the Foster Wallace collection of short stories Brief Interviews with Hideous Men writings which are characterised by dark dry humour, alienation and unconventional sexuality. With kind permission from the David Foster Wallace Literary Trust.
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(top) Tim Etchells, 2012. (bottom) Rosemary Butcher, After Kaprow – The Silent Room / Book of Journeys, 2012, Photo by Ernest Protasiewicz. (page 8/9) Felix Gmelin, Farbtest, Die Rote Fahne II, 2002.
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Imran Qureshi, This Leprous Brightness (detail), 2010.
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OFF-SITE PROJECTS No Borders Bristol Museum & Art Gallery Saturday 15 December – Sunday 2 June, free #noborders Ai Weiwei, Bani Abidi, Yto Barrada, Hala Elkoussy, Shilpa Gupta, Amar Kanwar, Tala Madani, Zwelethu Mthethwa, Imran Qureshi, Walid Raad, Shahzia Sikander, Haegue Yang, Akram Zaatari Over the past five years Arnolfini has been working in partnership with Bristol Museum & Art Gallery to build an international contemporary art collection for Bristol, with the support of an Art Fund International award of £1 million. To date 34 new acquisitions have been made, including major works by Ai Weiwei, Meschac Gaba, Shilpa Gupta, Walid Raad, Haegue Yang and Akram Zaatari. The AFI collection in Bristol takes the city museum’s historic collections from Africa, China and the Middle East as its starting point and, at the same time, seeks to consider Bristol’s history as a port city and site of international trade and exchange. The collection reflects upon the globalised conditions of the art world today, as well as the particular histories and contexts that inform each artist’s practice. The AFI collection locates the city of Bristol as a point of connection in a dynamic and rapidly changing web of global relations. No Borders is curated by Tom Trevor, Director of Arnolfini and Associate Curator of the AFI collection, assisted by Julia Carver, Curator of Visual Art at Bristol Museum & Art Gallery. The AFI collection has been developed in consultation with Jeremy Lewison. The Art Fund is the UK’s largest arts fundraising charity.
Arnolfini at the Bristol Record Office Until Friday 18 January, free Following the launch of a catalogue of Arnolfini’s artists’ books, the collection – which consists of over 700 items, and is one of the most significant of its kind in the UK, is now freely available to view at the Bristol Records Office (home to Arnolfini’s archive). To celebrate this, an exhibition of key pieces is on display, shared between the foyer space of the BRO, and Arnolfini’s Reading Room. Including pieces by Martin Creed, Tacita Dean, John Furnival and Rachel Lois Clapham. Further details about both the collection and the exhibition are available from Phil Owen at readingroom@arnolfini.org.uk or 0117 917 2317, www.bristol.gov.uk/page/bristol-record office-exhibitions-and-events
Maria Thereza Alves Seeds of Change: A Floating Ballast Seed Garden Working with the University of Bristol Botanic Garden and Bristol City Council, Arnolfini have utilised a disused grain barge and created a Ballast Seed Garden on Bristol’s Floating Harbour, populated with variety of non-native plants, creating a living history of the city’s trade and maritime past. Located in the Floating Harbour (north side) between Bristol Bridge and Castle Park Water Taxi stops and viewable from Castle Park.
Joke Lanz, Schimpfluch, photo by Agnieszka Zwara. (page 13) Bodies In Flight, Do the Wild Thing! 1996.
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Performing Documents: Redux LIVE Extreme Rituals: A Schimpfluch Carnival Friday 30 November – Sunday 2 December festival pass £40 / day tickets £15 #extremerituals A three-day series of performances, talks and more devoted to the legacy of the Swiss performance group Schimpfluch, founded in Zürich in 1987. It features: Runzelstirn & Gurgelstøck, Sudden Infant, G*Park and Dave Phillips Hijokaidan’s Junko Hiroshige, GX JupitterLarsen, Phurpa and Vagina Dentata Organ.
Saturday 8 and continuing until Sunday 30 December #perfdocs Performing Documents is a research project and series of events investigating the relationship between live performance and documentation. December 2012 sees the second of four presentations at Arnolfini, followed by the exhibition Version Control in February 2013 and a conference on 14 April. Redux, the second phase of presentations, explores what happens when artists engage with the documents and recordings of their own work. The Redux programme presents installation with live action, dialogue and talks and begins on Saturday 8 December. Performing Documents is an AHRC funded project hostet by the University of Bristol, in partnership with the University of Exeter, In Between Time and Arnolfini.
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LIVE Performing Documents: Redux
Blast Theory Jog Shuttler Saturday 8 December, daily until 30 December 11am – 6pm, free A bank of screens plays loops of unseen experiments, half-formed ideas and well-known work, in a large grid. What links the footage or the ideas behind it is not immediately clear, other than it has all been generated by the same artists’ group over the last 21 years. Navigating through fragments of Blast Theory’s archive, viewers impose their own edit by sifting, shuttling and looping, making sense of it for themselves.
Bodies In Flight Do The Wild Thing! (Redux) Saturday 8 December, daily until 30 December, 11 am – 6 pm ( 8 / 9 December, installation includes a live performance element 12 – 6 pm ), free Do the Wild Thing! (1996) was Bodies in Flight’s eighth project and the first led by a specific research concern: to explore the encounter at the heart of all performance between flesh and text, between discursive and embodied practices. Four of the original collaborators return to this peepshow about desire and voyeurism to produce new works each in their own medium – dance, photography, text and video.
Redux Symposium Saturday 8 December, 10.30 am – 5 pm £50 / £30 concs tickets from University of Bristol box office The Symposium explores how artist’s use and re-use their own archive. It features internationally recognised artists and scholars, including Amelia Jones (co-author of The Artist’s Body), live artists Amanda Coogan, Dominic Johnson, Traci Kelly and Richard Hancock, Terry O’Connor (Forced Entertainment), Andrew Quick (author of the Wooster Group Workbook), Claire MacDonald and Graeme Rose (Stan’s Café). The Symposium will be followed by screenworks from Blast Theory and Bodies In Flight at 7pm.
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LIVE Sound / Film Installation
Mikhail Karikis SeaWomen Saturday 12 – Sunday 20 January, 11 am – 6 pm, free SeaWomen is a new film and sound installation by Mikhail Karikis. It focuses on a vanishing community of elderly female sea workers living on the North Pacific island of Jeju. The work depicts the community of working women called ‘haenyeo’, all now aged between 60 and 90 years
old, who dive to great depths with no oxygen supply to catch sea-food, collect seaweed and find pearls. This ancient and exclusively female profession was a dominant economic force on the island, establishing a matriarchal society in an otherwise male-dominated Korean culture, but is now on the verge of disappearance. The installation creates an audio-visual experience with recordings of the striking sounds of the women’s vocal bursts as they surface from the water, as well as their work-songs and debates about territory, pay and unionisation. Supported by Arts Council England and the University of Brighton
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Emma Smith, ∆E=W, Tate Modern 2011, photo by Hydar Dewatchi. (page 14) Mikhail Karikis, SeaWomen, 2012.
LIVE 4 Days Four consecutive days of live presentation from Bodies in Flight, Emma Smith, Heather Phillipson and Edwin Burdis, Laure Prouvost, Mette Edvardsen, Mikhail Karikis, Nils Bech, Philipp Gehmacher, Sarah Vanhee, Sharon Gal, Project Boondock and Georgia Sagri. Thursday 17 – Sunday 20 January, 11 am – 8 pm £5 for ticketed performances, 4 Days year pass, allowing entry to all ticketed performances available for £30. Other events are free entry #4days 4 Days is a quarterly programme of performance, activating Arnolfini spaces for visitors to experience multiple live propositions during a single visit. Starting in January with a broad mix of works informed by disciplines such as physics, choreography, gymnastics, theatre, sculpture and choral composition, 4 Days offers meeting points between performers and spectators and a shared opportunity to gauge the transformative potential of live and performance art. Installation and rehearsal will be visible and integral throughout.
A loose theme to the first edition will be ‘coming together’ via durational works such as Georgia Sagri’s Owen and Emma Smith’s ∆E=W (Change in Energy = the Work ) or for shorter shared experiences, offering engagement for visitors of all ages and backgrounds. Expanding on notions of interaction the event features conversational forums for artists and visitors alike to exchange their experiences of performance hosted by Project Boondock. Elsewhere solo performances by artists such as Laure Prouvost, Mette Edvardsen, Mikhail Karikis and Philip Gehmacher explore actions for smaller audience groups presented on the set of Bodies in Flight’s Gymnast, a new work for choir and gymnasts proposing athletes as interface linking human and superhuman. 4 Days begins with Norwegian musician Nils Bech’s Look Inside with Eirik Sæther’ and Heather Phillipson and Edwin Burdis’ PRESSURIZATION – a theatrical set informed by audio visual apparatus made especially for a live presentation from the artists. Broadcast intermittently throughout the event will be sounds led by Sharon Gal, the results of collaborative workshops/performances that visitors are encouraged to take an active role in creating. Gymnast has been co-commissioned by Dance4 and Ferment, supported by ACE, the Legacy Trust UK and the European Development Fund.
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In each quarterly brochure we will include a new piece of critical writing. For this edition we invited the artist and writer, Tim Etchells, to respond to the idea of ‘Performance Now’. Etchell’s interdisciplinary practice shifts between performance, visual art and fiction. He has worked in a wide variety of contexts, notably as the leader of the world-renowned performance group Forced Entertainment. A newly commissioned work will be presented at Arnolfini as part of the exhibition, Version Control.
counter a young guy – probably not Ahmed but a friend or relation of his more up for doing the late shift – looked up. How’s it going? he said. Alright, I said, just a long night at the theatre. Looks like it, he said. Any good? No, I said, not so good. What about you? Not-Ahmed shrugged, to indicate an inevitable answer – too much Saturday night crowd, too much noise, too much other everything. Then he spoke. No wonder things are tough; the speed and alacrity with which Capital has absorbed and neutralised those things which sought or aspired to resist it is daunting, impressive even. And I said, wait, wait what are you talking about?
Moon Story To be honest I had one of those strange nights in the theatre; you know the kind where you are there but not really there and you find yourself spiralling, only-half watching the show, mostly wishing it would end, or counting the props and the lights, sometimes finding something to grab on to and think about, but just as often observing people down the row from you and wondering what on earth they are laughing at. When then show really did come to an end, the applause only made things worse; I was doubting I knew anything about theatre at all; pretty much doubting my connection to the whole human race. They say that you’re never quite so alone as you are sometimes when you’re sitting down and watching with others. After the terrible show thing it turned into a long night involving several bars, drink, music, a lost bike and a search for a cab that didn’t really work out and then later, in fact much later, around 3 am, I was much pretty lost until Ahmed’s Kebab Burger Soft Drink & Fries Van somehow magically appeared like a mirage on the other side of the roundabout just opposite the burned out remains of what used to be the Picture House. It was there, at the Kebab Burger Soft Drink & Fries Van that a light rain began to fall. Behind the
And he leaned forward over the counter and said I mean just look at it – from the green agenda to the strategies of the so-called avant garde Capital absorbs everything in its path. These days the market is not just a shop filled with consumer stuff – what we’ve got here is an experience economy. Not-Ahmed looked around, and stabbed the air with his doner knife, pointing out to the city as if to emphasise his point. Performance used to be a space of resistance he said; against the market, against commodity. But everything can be commodity now. Just look at it (again pointing out with the doner knife) everything can be bought and sold, no matter how insubstantial... identity, the accumulating adventure of you. Everyone in the market now understands that what they’re selling is belonging, he said. They understand that what they’re selling is participation and community, even if it is only imagined community. Those things were once the radical province of art, but now… Just then other customers arrived in the form of three drunk guys and I retreated to slump at a bench nearby, looking back at Ahmed’s Van. The three drunk guys bought Kebabs and then staggered off, talking and eating at the same time, trailing ketchup and chopped cabbage behind them like doomed children in a distorted fairy tale. Once they were gone Not-Ahmed called me over, leaned forward at his counter.
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This city is changing so fast he said, pointing at the nighttime skyline. The quicker old stuff falls apart or goes bankrupt the quicker they’re cladding it in new materials and opening it up again. You have to admire it in some ways but really all that’s on offer is panic and terror and feverish lust… What do you mean? I said. Lust, accumulation. Fear and death. The mirage of ownership. I mean you’re bought and sold he said, wrapped so tight in it you can’t even see, can’t breathe, can’t navigate. They’ll sell you back to yourself given half the chance. I looked out at the city, feeling low. It’s useless then? Now that even the most ephemeral and intimate exchanges are commodities? Is that what you’re saying? No. Not useless, Not-Ahmed said. He paused then made to hand me something, an object slid across the counter, hidden under his hand. What’s that? I said. He said I’m quitting and this is the keys to the Van. He raised his hand to show the keys beneath. Take them he said, I’m not doing the whole late night Kebab Burger Soft Drink & Fries thing anymore. I was quiet. Then I said something but I don’t know what. Look, he said, tidying sundry items on the counter, cleaning the surfaces and then bringing the roller shutter down over the serving hatch window with a slam. Look. I know the situation is bad – I know that the market ate up everything, they even confused capital with democracy, but I still believe in art. What? That show I saw tonight was cretinous. Ridiculous. If you had seen it… Not-Ahmed shut the door to the Van and walked to the bench, motioning me to join him. Ridiculous, maybe. But I still believe in art, he said. I believe in performance. Beuys. Early Abramovic. Nauman. Beckett. Hsieh. Pina Bausch. Kantor. Cage. Performance isn’t just the icing on someone else’s cake. A bit of added value. The cheap thrill of role play. It’s a way of changing the world. We watched the wind dislodge the top layers of paper from the precarious temporary sculpture of
cans, newsprint, food wrappers and wastes piled to overflow on the rubbish bin right next to the closed-up Kebab Burger Soft Drink & Fries Van, the single eye of its serving hatch shuttered down, turned away from the night. What will happen? I said. Not-Ahmed laughed. My uncle will find someone else to run the Van. But what about you? We watched the papers skid and slide intermittently on the paving slabs, uncertain of their newfound freedom in space. I’ll be OK, he said. I am going back to Istanbul to start a theatre company. I was quiet. Watching Not-Ahmed, watching the litter shift on the paving slabs. Not-Ahmed said; Art is a place that speaks vividly, that speaks language back to life, that re-animates ideas, turns them round, turns them over. Art is place that breaks an old idea, breaks it open, makes a new one in it. Art is a tool for navigation, better than GPS. It’s a weapon also better than petrol bomb. Performance? I said. I believe in that, he said. Performance creates a space in which different kinds of contact are possible, different kinds of conversations. It is a place to step out of, side step from the general tendency to commodified lust wrapped, crushed and hidden in panic and terror. We sat a while longer. Then Not-Ahmed made to go. The moon was full. You could see and hear everything. The city lights, the distant traffic, the litter skidding and the moon on the water.
Tim Etchells, Sheffield, 2012.
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Reckless Sleepers A String Section (Part of the IBT13 Opening) Thursday 14 February, 7.30 pm, free
LIVE
Five empty wooden chairs stand in a row. Five women walk in carrying handsaws. They each stand beside a chair, bow and take a seat. They start to saw into the legs of the chairs. Each has her own rhythm, her own style. The piece ebbs and flows, rises and falls. The audience is free to come and go. They finish up and leave. Only the lopsided chairs, bits of wood and sawdust remain. ‘Haunting, beautiful, dramatic’ The Guardian
IBT13 International Festival of Performance
The Famous Lauren Barri Holstein How To Become A Cupcake
Thursday 14 – Sunday 17 February
IBT13 presents a hot, if controversial new voice. Featuring attitude, excess and whipped cream, How to Become a Cupcake plays with and against visual fetishisations of the female body. The Famous brings delight and dismay, pleasure and panic to audiences. Her fantabulous choreographic productions have toured everywhere from Duckie to the Barbican. Fasten your seatbelts.
An extraordinary weekend of theatre, live art, dance, opera, feasts, talks, parties and public art. 50 events and 90 artists gather from across the world, bringing premieres and new work to Bristol. The events are staged in leading arts spaces and in unexpected places. Encounter the festival on docksides, in shipping containers, forests and dark alleyways. IBT seek the artists who will change the face of performance forever: the visionaries, the wild-cards and the one-offs.
Friday 15 February, 2 pm, £10 / £7 concs
‘Darling of the alternative performance scene’ Time Out
‘Go to the brilliantly curated In Between Time Festival’ The Guardian Information: Take your pick and select individual tickets for IBT13 events or immerse yourself in the festival. Individual Tickets: £10/£7 concs Advance Festival Pass: £75 Taster Passes: For details of taster passes and free events, see ibt13.co.uk Here we highlight performances centred at Arnolfini. For a full festival programme see www.ibt13.co.uk or pick up the IBT13 brochure. IBT13 is produced by In Between Time in collaboration with Arnolfini. @In_Between_Time, #ibt13
The Famous Lauren Barri Holstein, How to Become a Cupcake, photo by Timothy Fluck.
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Reckless Sleepers, String Section, photo by Herman Horsten.
LIVE
Sylvia Rimat If You Decide To Stay Saturday 16 February, 1.30 pm, £10 / £7 concs Fight or flight? Left or right? Stay or go? If You Decide to Stay is a playful investigation into decision-making – the neurons involved in the process and the difficulties of knowing what we want…really. Informed by encounters with a Neuroscientist, a Mathematician and a Psychotherapist, Rimat delivers part-lecture part-performance, part-live-experiment. Retrace a lifetime of decisions and celebrate your choice to be here. ‘A unique, charming and thoughtful talent’ Gscene Magazine
Coney Early Days (of a Better Nation) Sunday 17 February, 3.30 pm – 5.30 pm £10 /£7 concs The revolution is over. How do you want to live? It is time to start shaping your new nation. What rules do you want to live by? This is your opportunity to start again. Inspired by the political unrest and extraordinary events of the last two years this large-scale, interactive work, combines theatre, a playing audience, live soundtrack and video to explore what it takes to build a better nation. ‘An important pointer to how theatre is developing’ BBC
Holzinger & Riebeek Kein Applaus Für Scheisse (No Applause for Shit) Friday 15 February, 8 pm, £10 / £7 concs A portrait of a generation: an elusive mix of dance, trashy pop, theatre, roller skating, acrobatics and love. Young artists will give everything for applause… Holzinger and Riebeek flirt with the limits of each other and everything that is possible onstage. The result is a surprising and rich portrait of pop culture. ‘They dispense with the rule book. Jesus, if for only one second of our lives we could be free as they are!’ Zone 02
Martin O’Brien Breathe For Me Friday 15 February, 3 pm – 7 pm, free I am my body but my body is against me. I’m drowning. Breathe for me; will some body breathe for me? Sometimes survival is an act of physical endurance. Artist Martin O’Brien suffers from cystic fibrosis, a serious and chronic disease where the body produces excess mucus, blocking major organs, including his lungs. Breathe for Me, considers a medicated body which suffers in order to survive.
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LIVE
Sinéad O’Donnell Art Of Begugnung Comes Tomorrow Slowly Sunday 17 February, 2 pm– 6 pm, free An exploration of violence, using dinner plates. Artist O’Donnell works with hundreds of white dinner plates, meticulously stacking them until they tower above her head – the inevitable collapse creating a fragmented sculpture on the floor. Part of her Violent performance series exploring the sound of the word violent and its imminent threat, rather than its physical force. The works draw upon past experiences of domestic violence. Workshop: Friday 15 February, 3pm–7pm. For details, see www.ibt13.co.uk
Ivo Dimchev Lili Handel Saturday 16 February, 8 pm, £10 / £7 concs Blood, poetry and music from the white whore’s boudoir. Lili Handel is the story of a diva unable to admit that her time is over. It’s not just her beauty that’s faded; Lili has become a sexless and faceless creature. She has created a phantom in the struggle to keep her former-self alive. Ivo Dimchev explores the visceral human body. He extends his insides to you, through voice and movement – even offering up his own blood. ‘Simply fantastic’ New York Times
Simon Faithfull Fake Moon, College Green Thursday 14 – Sunday 17 February, 6 pm – 7.30 pm Free, Donations Welcome For four nights of IBT13, a Fake Moon creates an improbable arc across the Bristol sky. Blink, you’re not seeing things. Fake Moon is a perplexing apparition in the night sky. Rising slowly, an intense ball of light illuminates the city skyline, casting long shadows across the grass. Simon Faithfull’s Fake Moon makes its wobbling ascent every evening of the festival, powered by man, helium and pulley. Join us in welcoming this extraordinary lunar guest to Bristol.
Kate McIntosh Worktable, Arnolfini Docks Thursday 14 February, 7 pm – 10 pm Friday 15, Saturday 16, Sunday 17 February 11 am – 7.30 pm In Worktable objects fall apart. With your help, they come back together. This live installation takes place in a series of shipping containers. Outside the first container you cast your eyes over a shelf lined with objects. You can hear the occasional sounds of heavy blows, breaking or sawing. To enter you must sign in, but you can stay as long as you like. Once inside, you’re given instructions, equipment and safety goggles so you can get to work.
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(bottom) Photo by janvonholleben.com. (left) Coney, Early Days (of a Better Nation), photo by Matt Howey Nunn.
Moon Workshops
FAMILY Mash Up Saturday 15 December, 12 pm – 4pm, free Join us for an afternoon of festive making activities, explore lost aliens in mysterious winter forests and drip dye psychedelic snowflakes followed by a film screening of Goopy Gyne Bagha Byne (The Adventures of Goopy and Baghan, Dir Satyajit Ray, 1968, India, 132 mins, subtitled) at 4pm.
Half Term Activities As part of the IBT13, international festival of performance, Arnolfini will explore through online discussions, practical workshops and print, the mythical and sensorial pathways to the Moon. Join open workshops for all ages that explore galaxies, universes and delve into the myths that we associate with the cosmos.
Tuesday 12 & Wednesday 13 February 1 pm– 5 pm, free Open to all ages, come and explore themes and ideas behind moon myth through practical activities and discussions.
Farewell Moon Feast with The Full Moon Orchestra Sunday 17 February, 6pm, £5 ( including the feast ) children under 12 free Bring your instruments and savour the flavours of the moon with a feast especially prepared for IBT13’s finale. Simon Faithfull’s Fake Moon shines on Bristol’s College Green for a final time and what could be more fitting than food and friends gazing out together from Arnolfini’s panoramic Fifth Floor. Leading the hootenanny The Full Moon Orchestra invite all age groups of any ability to form a musical ensemble to serenade the feasting. All welcome, just don’t forget your guitar, bongos, triangle or xylophone. Created with Full Moon Feast, Bristol
(below and top right) The Autobiography of Nicolae Ceausescu, Andrei Ujica, 2010. (bottom right) Vampir, Cuadecuc, Pere Portabella, 1967.
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Film Lecture: 10 Rillington Place
SCREENINGS A regular programme of Thursday evening screenings with a focus on artists’ film and video, experimental documentary, underseen cinema and discourse. Arnolfini cinema is fully licensed tickets £6/£4 concs Film lecture series free for UWE and University of Bristol staff and students with ID. Free tickets available from box office on the day of the event.
Thursday 13 December lecture 6.30 pm, film 7 pm Introduced by Dr Josephine Dolan, lecturer in film, UWE. Richard Fleischer’s 1971 dramatised true-story of serial killer John Christie and the miscarriage of justice that resulted in the execution of Timothy Evans epitomises British film noir in its depiction of bleak and grimy post-war Britain. With outstanding performances from Richard Attenborough, Judy Geeson and John Hurt, the film offers a powerful critique of capital punishment. Dir Richard Fleischer, UK 1971, 111 mins
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Version Control Screenings: Camera and Event 10, 24, 31 January, 21, 28 February, 6.30 pm This series of film screenings expands on themes of the exhibition Version Control within the domain of moving images.
The Autobiography of Nicolae Ceausescu Thursday 10 January, 6.30pm Drawing on archival and TV images shot between 1967 and 1989 in the Ceausescu regime’s staging of its own public image, Ujica transforms a historical chronicle into a spellbinding, sweeping epic. There are no titles, captions or voiceover; instead only precise selection, ingenious editing and a cleverly subtle soundtrack construction. Dir Andrei Ujica, Romania / Germany 2010, 180 mins, subtitled
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Film Lecture: The Fall Thursday 21 February, lecture 6.30pm screening 7 pm Introduced by Paul Clarke, University of Bristol
SCREENINGS Film Lecture: Shadow of the Vampire Thursday 24 January, lecture 6.30 pm screening 7pm Introduced by Marie Mulvey-Roberts, UWE In 1921, F.W. Murnau cast unknown actor Max Schreck to portray the undead Count Orlock in his great silent-film Nosferatu. The conceit, brilliantly played out in this shockingly funny film, is that a creepy Murnau (John Malkovich), knew his lead (Willem Dafoe) was a real vampire when he hired him.
Considered by Whitehead to be his most inportant film, The Fall was shot amidst the turbulance and creativity of New York between October 1967 and June 1968. This is an extraordinary piece of filmmaking and an extremely personal statement on violence, revolution and also Whitehead’s attempts to come to terms with his own images of the times. Dir Peter Whitehead, UK 1969, 120 mins
Dir E Elias Merhige, USA 2000, 91 mins
Vampir, Cuadecuc Thursday 31 January, 6.30 pm Shot on the set of Jesús Franco’s B-movie, Count Dracula, starring Christopher Lee, this film is itself a work of vampirism in high contrast black and white, that recalls the looks of the silent vampire classics. Parasiting out-takes, documentary footage and moments on set to make his own movie, Portabella shook the foundations of the Spanish filmic canon. Dir Pere Portabella, Spain/USA 1970, 72 mins
All This Can Happen Thursday 7 February, 6.30 pm Introduced by co-director Siobhan Davies
The Anabasis Of May And Fusako Shigenobu, Masao Adachi And 27 Years Without Images, Eric Baudelaire, 2011.
Film Exercise Special: The Anabasis Of May And Fusako Shigenobu, Masao Adachi And 27 Years Without Images Thursday 28 February, 6.30pm
Made entirely from found footage and photographs from the early days of the moving image, Davies’ debut (with film-maker David Hinton) references the footsteps of the protagonist from the short story The Walk by Swiss writer Robert Walser. As in a flick book, ordinary movements appear, evolve and freeze, creating a striking choreographic work that blurs memory, imagination and our sense of self.
Artist Eric Baudelaire’s acclaimed recent film is centred on two protagonists: May Shgenobu, the daughter of Japanese Red Army founder and leader Fusako Shigenobu, and Masao Adachi, a legendary underground film director, JRA member and theoretician. Filmed on Super 8 mm, contemporary panoramas of Tokyo and Beirut are blended in with archival footage, TV clips and film excerpts as backdrop for May and Adachi’s voices and memories.
Dir Siobhan Davies and David Hinton, UK 2012, 50 mins
Dir Eric Baudelaire, France 2011, 66 mins
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Writing& Control Saturday 9 – Sunday 10 February ( 2 day course ) 11 am – 4 pm, £40 /£25 concs Writing& will be running six bi-monthly interdisciplinary writing workshops. The first of the series Writing& Control will be a response to the Version Control exhibition. If you are a writer and/or artist and want to widen your practice, you will be very welcome.
READING ROOM EVENTS Tertulia
Writing& comprises Dr Barbara Bridger (former co-director of Writing at Dartington College of Arts), Melanie Thompson (Interdisciplinary Arts Practioner) and Jerome Fletcher (Associate Professor of Performance Writing at Univ. Coll. Falmouth). See www.writingand.org for further details.
Saturday 26 January, 2pm– 5 pm, free Tertulia is a regular salon event intended to bring people together working with or interested in language. We aim to act as a supportive platform for innovative, experimental work and research, and to promote exchange and discussion between creative disciplines. tertuliablog.wordpress.com
On Listening Tuesday 7 February, 6.30 pm, free On Listening is a forum for people to meet to listen to, share and discuss music. Sessions are themed around an aspect of Arnolfini’s current programme and research, or the work of a guest host. Further information about the host and playlist for will be available via Arnolfini’s website, or from Phil Owen readingroom@arnolfini.org.uk
Future Forward Thursdays, 2pm – 6pm, 14 & 21 February 14 & 21 March, free, Phone Box Office to book your 30 minute slot Future Forward offers a series of free portfolio and advice sessions for 16 – 25 year olds. These sessions will focus on performance, music and the visual arts, and are delivered by arts professionals offering a range of support to ease the transition from school to university or out into the world of work.
ONLINE PROJECT The Project Formerly Known As Kindle Forkbomb UBERMORGEN, 2012 http://uuuuuuuntitled.com In their new project, UBERMORGEN (German for ‘the day after tomorrow’ and ‘super-tomorrow’) invade Amazon’s Kindle-Shop with vast quantities of robot-generated self-published E-Books. The books contain millions of Youtube comments forming a new literary genre. The project abuses the corporate cloud-infrastructure of Amazon, and unleashes a series of aesthetic and legal provocations to their business model. en.wikipedia.org/wiki/Ubermorgen ubermorgen.com
Buster Keaton directing the film College.
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SCREENINGS
Slapstick Festival 2013
Colleen Moore in Orchids and Ermine
Thursday 24 – Sunday 27 January
Introduction by Kevin Brownlow
Bristol’s celebrated silent and visual comedy festival returns for a ninth year bringing hilarity to Bristol with an incredible line up of events with live music at Arnolfini. From Buster Keaton to The Goodies, to rarities from pioneering silent film comediennes Colleen Moore and Anna Sten, there really is something for everyone in this diverse and exciting programme.
A rare chance to see Orchids and Ermine, a typical Colleen Moore picture with a marvellous central performance, superb supporting players, including Mickey Rooney as a midget millionaire. Live piano accompaniment from John Sweeney.
For the full programme see slapstick.org.uk
The Girl With The Hatbox (With live piano accompaniment) Friday 25 January, 2.30pm, £7.50/£6 concs The film tells the tale of the eponymous hatmaker Natasha (Anna Sten), a lovelorn railway cashier and homeless student Ilya. Anna Sten shines out as the sparky, spunky heroine of this delightful and enduring Russian silent comedy, ripe for rediscovery.
Saturday 26 January, 11.30am, £7.50/£6 concs
USA 1927, 70 mins
Lost Goodies Saturday 26 January, 2.30pm, £8/£6.50 concs With Tim Brooke-Taylor, Graeme Garden and Bill Oddie From 1970 to 1982, British television audiences roared regularly with delighted laughter at the zany and visually-inventive comedy shows and specials created by the madcap trio known as The Goodies. Slapstick is reuniting all three Goodies for a look-back at rarely-seen gems from their multiple award-winning output. Chris Serle is in the chair giving you a chance to put questions.
Dir Boris Barnet, Russia 1927, 65 mins
Lost Clowns: Walter Forde Wait and See
Buster Keaton’s College plus short Saturday 26 January, 8pm, £9/£7.50 concs
Saturday 26 January, 10am, £7.50/£6 concs
Introduced by Keaton admirer and Dad’s Army star Ian Lavender
Walter Forde was Britain’s top silent comedian in the 1920s, signed to make a series of comedy features, something never before tried in Britain. Wait and See (1928) was his first and perhaps best. Forde’s originality and chase finale resulted in a comedy hit. Introduced by Silent Comedy film historian and researcher David Wyatt.
Buster goes back to school and stages a send up of university life. Keaton’s underrated campus feature is full of athletic mastery and a selection of some of his finest onscreen gags. Live accompaniment by European Silent Screen Virtuosi. Ian will be selecting a Buster Keaton short to be revealed on the evening!
Dir Walter Forde, approx 70 mins
Dir Buster Keaton, USA 1927, 66 mins
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Jamie Fobert: Space for Art
TALKS / LECTURES
Wednesday 6 February, 6.30pm, £6/£4 concs
The Architecture Centre Lectures: A series of talks by leading British architectural practitioners, curated by The Architecture Centre.
Manser Medal winning architect Jamie Fobert is well known for his work at leading art institutions like Kettle’s Yard and Tate Modern. Join us as he reveals his latest expansion plans for Tate St Ives.
Simon Allford Allford Hall Monaghan Morris
RIBA Stirling Prize Lecture Stephen Hodder MBE
Wednesday 5 December, 6pm, £6/£4 concs
Wednesday 20 February, 6.30pm, £6/£4 concs
As the A in AHMM, Simon Allford was the director in charge of the Angel Building, The Saatchi Gallery and Yellow Building, and former Vice President of The Royal Institute of British Architects (Education) and a Chair of Design Review CABE.
President Elect of the RIBA, Stephen Hodder won the inaugural Stirling Prize for Architecture for the Centenary Building, University of Salford in 1996. Prior to taking office, he shares his thoughts on contemporary practice.
Sheila O’Donnell, O’Donnell + Tuomey
In partnership with the Bristol and Bath branch of the RIBA and the Bristol Society of Architects. This event has been kindly supported by Ibstock Brick.
Wednesday 12 December, 6 pm, £6/£4 concs Sheila O’Donnell is the co-founder of the Dublin based practice, O’Donnell + Tuomey, architects for the Sean O’Casey Community Centre (2008), and the Stirling Prize shortlisted Glucksman Gallery (2004), An Gaelaras (2009) and the recently completed Lyric Theatre in Belfast.
Michael Manser: Space for Living Wednesday 23 January, 6.30pm, £6/£4 concs Past president of the RIBA, Michael Manser is one of the country’s leading advocates for innovative house design. Join us to hear the founder of the RIBA Manser Medal present observations from a career that spans over fifty years.
1 Great Marlborough Street, Manchester, by Hodder+Partners, completed August 2012, photo by Daniel Hopkinson.
WEDF Talk: An evening with Roger Proctor
Cindy Walters: Space for Education
Wednesday 19 December, 7 pm, £12/£10 concs
Wednesday 30 January, 6.30pm, £6/£4 concs
A tireless advocate of design in the South West for the past 30 years, Roger Proctor, MD and founder of Proctor & Stevenson will be interviewed by Emma Collins. He will be sharing a wealth of ideas and opinion on furthering design in our region.
One half of Walters & Cohen, and recipient of AJ Woman Architect of the Year 2012, Cindy joins us to discuss recent education projects including Cotham School and the award-winning extension at Colston’s Girls’ School.
www.wedesignforum.co.uk
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Arnolfini Bookshop, (below) Arnolfini Café Bar, photos by Max McClure.
CAFÉ BAR Open daily from 10 am
BOOKSHOP Arnolfini is home to one of the UK’s leading specialist contemporary art bookshops. Open Tuesday 11am – 6pm, Wednesday – Saturday 11 am – 8pm, Sunday 11 am – 7pm Monday 3, 10, 17, 11am – 5pm 24 December 11am–4pm Contact bookshop with enquiries or orders on 0117 917 2304 or bookshop@arnolfini.org.uk NUS get 10% off all purchases on Wednesdays Christmas Gifts The bookshop team love to pull out all the stops for the festive season, and you will find the shop packed with all that is great and good in the world of contemporary art and culture alongside our eclectic and original range of children’s books, fabulous calendars, diaries and unusual Christmas cards and gift ideas plus an excellent choice of books for children and adults alike. From the truly sublime to the faintly ridiculous there is a little something for everyone.
Food inspired by the flavours of Italy and cooked with the best local produce is served all day. Look out for our kitchen happy hours, cake of the day deals and free spuntini (little Italian bar snacks) every Friday from 5.30pm Sign up to our mailing list by emailing cafebar@arnolfini.org.uk or follow us on Twitter @finicafebar 10% off food for ticket holders to Arnolfini events. Arnolfini Café Bar is operated by Market QV, a small local independent. We also provide event catering for Arnolfini’s venue hires and beyond.
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Matti Braun, R.T/S.R/V.S (since 2003), installation view Arnolfini, photo by Jamie Woodley.
VENUE HIRE
SUPPORT US For over 50 years Arnolfini has been a meeting place, a catalyst for ideas, and a unique showcase for world class contemporary art and performance. In this time, we have supported now-influential artists early in their careers and have encouraged people of all ages and backgrounds to engage with art. As a registered charity we depend on the support and generosity of our supporters to help us grow our innovative programme of exhibitions and events. Our membership offers a wide range of benefits for you and your friends, and your contribution will help us to continue in our efforts to make art accessible to all. Our schemes range from individual membership through to a patrons. Gift memberships are also available as the perfect present for those interested in art, performance, literature and good food. For more information on becoming a Supporter please email boxoffice@arnolfini.org.uk
Arnolfini is a unique venue and offers contemporary spaces for hire, including, Fifth Floor, a new space for events at Arnolfini. It has a stunning 360 degree view reaching from St Mary Redcliffe, across Bristol’s historic harbourside, to Bristol Cathedral and beyond. The space is ideal for weddings, conferences and large launch events. Other spaces for hire include a 209 seater auditorium as well as smaller light filled rooms for conferences, receptions or meetings. FFI contact kate.robinson@arnolfini.org.uk or 0117 917 2313
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ACCESS VISIT US Arnolfini is situated by the water at Narrow Quay in Bristol’s Harbourside. It’s a 15 minute walk from Temple Meads railway station, and Marlborough Street bus station. Most buses stop at The Centre, a short walk from Arnolfini. If travelling by car, follow brown tourism signs. The nearest car park is The Grove. FFI visit arnolfini.org.uk or ring 0117 917 2300 Arnolfini, 16 Narrow Quay, Bristol BS1 4QA Funded by
We aim to make all visitors welcome. There are parking spaces for disabled visitors outside our main entrance, access via Farr’s Lane. Wheelchairs are available inside the building, and guide dogs are welcome. Large print and Braille versions of this brochure are available on request, and an MP3 version can be downloaded from the access page of our website. There is an induction loop system within the Auditorium. Please inform Box Office of any special requirements.
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December 2012 – February 2013 www.arnolfini.org.uk