New Territories 2011 by New Moves

International Festival of Live Art, Scotland

Monday 14 February â&#x20AC;&#x201D; Saturday 26 March 2011

Contents -----------------------

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Welcome

MAIN STAGE

Winter School

David Zambrano

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Compagnie Didier Théron

This is Performance Art [ T I P A ]

Liquid Loft

Black Market International

Louise Lecavalier

Is This Performance Art? TEAM Network critics forum

O Vertigo

Black Market International free public lecture and screenings programme

Sol Pico

Spalding Gray: Stories Left To Tell

BMI Invited Guests performance programme

Polish Roots

Anna Krzystek

Via Negativa

Iona Kewney

Artus

Jack Webb

Cabaret Futura

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----------------------16

----------------------small dances / BIG IDEAS

A Cinematic Space

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Into The New + The Athena Programme

----------------------28

Space For Live Art

Cover: Roi Vaara, Black Market International. Photo by York Wegerhoff

This page: Louise Lecavalier, A Few Minutes of Lock. Photo by André Cornellier

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Calendar February Date

Time

Artist/Event

Venue

Page

Tickets

Box Ofﬁce

Mon 14

0900-1700

David Zambrano (Winter School)

Thomas Morton Hall, Leith

Tue 15

0900-1700

David Zambrano (Winter School)

Thomas Morton Hall, Leith

Wed 16

0900-1700

David Zambrano (Winter School)

Thomas Morton Hall, Leith

Wed 16

from 1530

This is Performance Art (Aberdeen)

Various

Thu 17

0900-1700

David Zambrano (Winter School)

Thomas Morton Hall, Leith

£15 ** / £7 *

01224 641 122

Thu 17

from 1900

This is Performance Art (Aberdeen)

Various

Fri 18

0900-1700

David Zambrano (Winter School)

Thomas Morton Hall, Leith

£7 Day Pass

01224 641 122

Fri 18

from 1100

This is Performance Art (Aberdeen)

Various

Sat 19

1000-1300

BMI Workshop (Aberdeen)

Citymoves

£7 Day Pass

01224 641 122

Free but book in advance

01224 641 122

Sat 19

1930

David Zambrano (performance & talk)

Thomas Morton Hall, Leith

£10 / £6

0131 225 5525

Mon 21

1000-1800

Black Market Int (Winter School)

Ramshorn & RSAMD

Tue 22 Tue 22

1000-1500

Black Market Int (Winter School)

Ramshorn & RSAMD

1600-1730

BMI Public talks programme

Ramshorn

free

0141 552 3489

Tue 22

1800

BMI Screenings

Ramshorn

free

0141 552 3489

Wed 23

1000-1500

Black Market Int (Winter School)

Ramshorn & RSAMD

Wed 23

1600-1730

BMI Public talks programme

Ramshorn

free

0141 552 3489

Wed 23

1800

BMI Screenings

Ramshorn

free

0141 552 3489

Wed 23

1930

BMI Guest’s performance programme

Ramshorn

09/10

£6 / £4

0141 552 3489

Thu 24

1000-1500

Black Market Int (Winter School)

Ramshorn & RSAMD

Thu 24

1600-1730

BMI Public talks programme

Ramshorn

free

0141 552 3489

Thu 24

1800

BMI Screenings

Ramshorn

free

0141 552 3489

Thu 24

1930

BMI Guest’s performance programme

Ramshorn

09/10

£6 / £4

0141 552 3489

Fri 25

1000-1500

Black Market Int (Winter School)

Ramshorn & RSAMD

Fri 25

1600-1730

BMI Public talks programme

Ramshorn

free

0141 552 3489

Fri 25

1800

BMI Screenings

Ramshorn

free

0141 552 3489

Fri 25

1930

BMI Guests performance programme

Ramshorn

09/10

£6 / £4

0141 552 3489

Sat 26

1100-2100

Black Market Int.

SWG3

£12 / £9*

on the door

Sat 26

1400-1700

Critics Forum

SWG3

Free to Day

on the door

Ticket holders

March Date

Time

Artist/Event

Venue

Page

Wed 2

1930

Iona Kewney + Jack Webb

CCA 5

26/27

Fri 4

11am-1245pm Richard Layzell, GSA lecture

GFT

free

Sat 5

1400-1630

Polish Roots (Roundtable)

CCA Cinema

free

0141 352 4900

Sat 5

1930

Polish Roots

CCA 5 & gallery

£10 / £6

0141 352 4900

Mon 7

1000-1800

Richard Layzell (Winter School)

CCA

Tue 8

1000-1800

Richard Layzell (Winter School)

CCA

Tue 8

1900

Anna Krzystek

Tramway 4

£6 / £4

0845 330 3501

Tue 8

2000

Louise Lecavalier

Tramway 1

£11 / £6.50

0845 330 3501

Wed 9

1000-1800

Richard Layzell (Winter School)

CCA

Wed 9

1930

Artus

CCA Café

£6 / £4

0141 352 4900

Thu 10

1000-1800

Richard Layzell (Winter School)

CCA

Thu 10

1800

Richard Strange talk

Apple Store

free

0141 300 4950

Thu 10

1900

A Cinematic Space

Arches

£12 / £9

0141 565 1000

Fri 11

1000-1800

Richard Layzell (Winter School)

CCA

Fri 11

1800-0100

Cabaret Futura

Arches

£12 / £9

0141 565 1000

Sat 12

1000-1800

Richard Layzell (Winter School)

CCA

Sat 12

1930

Liquid Loft

Tramway 1

£11 / £6.50

0845 330 3501

Tue 15

1300-2200

Via Negativa

CCA 5

£12 / £9*

0141 352 4900

Wed 16

1000-1800

Via Negativa (Winter School)

CCA

Wed 16

1800

Into The New

Arches

£9 / £6

0141 565 1000

Thu 17

1000-1800

Via Negativa (Winter School)

CCA

Thu 17

1800

Into The New

Arches

£9 / £6

0141 565 1000

Fri 18

1000-1800

Via Negativa (Winter School)

CCA

Fri 18

1800

Into The New

Arches

£9 / £6

0141 565 1000

Sat 19

1400

Into The New (Seminar)

Arches

£5 / £2.50

0141 565 1000

Sat 19

1430

Via Negativa public showings

CCA

free

0141 565 1000

Sat 19

1930

O Vertigo

Tramway 1

£11 / £6.50

0845 330 3501

Tue 22

1930

Didier Théron

Tramway 1

£11 / £6.50

0845 330 3501

Thur 24

1930

Spalding Gray Stories…

Tramway 1

£11 / £6.50

0845 330 3501

Sat 26

1930

Sol Pico

Tramway 1

£11 / £6.50

0845 330 3501

15 16/17

£10 / £6

0141 352 4900

* Day tickets (wristbands issued) ** 3-day pass

International Festival of Live Art, Scotland

Welcome T

he 2010 edition of New Territories, rather remarkably, celebrated thirty years of the National Review of Live Art. Always an important strand of the programme, The NRLA was never meant to last that long but for many of those thirty years, as

it continually evolved, it was almost a lone beacon in Britain. Compelling, innovative artists made performance in all sorts of places during those years but the NRLA, uniquely, brought all the major artists, producers, curators and critics together in Glasgow. Now, with performance programmes in major museums and galleries and audiences less hung-up on whether a piece of art is “dance” “theatre”, “exhibition” or “ﬁlm”, New Territories has evolved again. This is a festival that has always subverted boundaries between different genres and experimented with hybrid media. It has always been about Glasgow audiences being introduced to some of the world’s most extraordinary talents, a fact recognised in 2009

“There aren’t many festivals this international” Chitra Ramaswamy, Scotland on Sunday

when artistic director Nikki Milican was awarded an OBE for her services to performance art. For Nikki, the accolade was really for the artists who made the work and for a festival that continues to evolve and ﬁnd exciting new ways to bring artists and audiences together. This year we offer you opportunities to dip into or immerse yourself in world-class art works in venues across Glasgow. We will take you to the café at CCA, to the main stage at Tramway, to revisit our long-standing partner venue The Arches, to the Apple Store and to

“A playful sense of adventure and brilliantly wilful determination to push at the boundaries and explore new territories” Lyn Gardner, The Guardian

new spaces for the Festival at the Ramshorn and SWG3. Beyond Glasgow, one of the prestigious Winter School courses is, once again, based with our partners in Edinburgh, Dance Base – Scotland’s national dance centre – with a rare chance too for audiences in the Capital to see the Winter School mentor David Zambrano perform his improvisations in another new venue for the Festival, the Thomas Morton Hall in Leith. We are also delighted to be working for the ﬁrst time in Aberdeen in a new partnership with the Local Authority, City Moves and Peacock Visual Arts, where a series of events represent the ﬁrst major initiative to explore live art and performance in venues across the city as part of the This Is Performace Art programme. Regular festival audiences in Glasgow will be excited to welcome back the intrepid performance collective Black Market International, world-renowned dance companies O Vertigo, Sol Pico and Didier Théron, and Scottish choreographers Iona Kewney and Anna Krzystek. We are also thrilled to present new works by Louise Lecavalier, who has not been seen in Glasgow since her totemic performances with La La La Human Steps in the 1990s. We are equally delighted to be featuring Richard Strange’s legendary Cabaret Futura and to be nurturing the next generation of artists in Scotland through the pioneering Athena Programme as part of Into the New, in partnership with the Royal Scottish Academy of Music and Drama. A major new strand in the Festival is TIPA – This is Performance Art, a three-year programme delving into the history of performance art across the world, with 2011 having a

“Despite the UK’s historic scepticism of the avant-garde, we still have a healthy radical fringe. Perhaps the real question is about the future of the mainstream.” Mark Brown, The Scotsman

“One of the most openminded, far-reaching and rewardingly varied programmes of radical new work in the world” Mary Brennan, The Herald

“Aside from offering a programme that is the envy of any major city, New Territories is cultivating the next generation ... Here is a festival that sacriﬁces neither quality nor integrity for size and success.” Gareth Vile, The Skinny

focus on Europe. Black Market International are a cornerstone of this strand of the Festival, while Polish Roots explores signiﬁcant work by many of the underground artists who were making work in Poland in the 1960s and ‘70s, the last decades of state communism, which included a period under martial law. You will ﬁnd lots to engage you in this, our new magazine and if that isn’t enough, there’s much more information about the entire programme on the website with links to artist sites,

“New Territories is one of the world’s leading platforms for live art. Give it a go; you have nothing to lose but your inhibitions.” Sunday Herald

videos and much more. Chris Lord / Press and Communications www.newmoves.co.uk

“Glasgow’s festival of the imagination” The List

❄

The International Winter School Each year, the Festival invites artists working in live art and related practice to take part in the International Winter School, a series of professional skills development projects. These opportunities are open to both emergent and experienced practitioners, to independent artists and students in tertiary education. The reputation of the Winter School has grown immeasurably since its inception in 2004, with artists attending from all over the world. This year’s programme includes:

David Zambrano

Improvisation On Stage

Thomas Morton Hall, Leith Monday 14 to Friday 18 February 0900-1700 daily

Black Market International Exploring The Impossible / The Element of Chance / Trust Your Intelligence

Ramshorn and RSAMD, Glasgow Monday 21 to Friday 25 February 1000-1500 Tuesday – Friday 1000-1800 Monday

Richard Layzell

Light Luggage / Great Locations

CCA, Glasgow Monday 7 to Saturday 12 March 1000-1800 daily

Via Negativa Art & Education

CCA, Glasgow Wednesday 16 to Saturday 19 March 1000-1800 daily

Full details of all the courses can be found on www.newmoves.co.uk/winter-school 3

The Glasgow School of Art Friday Event Lecture Richard Layzell

The Glasgow Film Theatre, 12 Rose Street, G3 6RB Friday 4 March, 11am-1245pm The Friday Event is a series of lectures by major international ﬁgures within contemporary art, design, and architecture. All events are free and open to the public. More information: www.gsaevents.com

David Zambrano, photo © Anja Hitzenberger

Helge Meyer, Rinteln, Germany 2005, photo by Tobias Landmann

Myriam LaPlante, photo by Piero Tomassini

Richard Layzell, photo by Rob Irving

Via Negativa, photo by Marcandrea

This Is Performance Art / Europe

is a major new strand within New Territories. The programme for 2011 is the ﬁrst in a three-year journey of discovery, unearthing a little of the history of performance art in different parts of the world. First stop Europe, but then only in part because we would need many more weeks to cover its many geographical and genealogical areas. However, what we bring to Glasgow is a tempting morsel that may encourage you to want to ﬁnd out more.

ometimes it is possible for a festival to offer more than an artist arriving in town to perform their latest show before leaving again. TIPA creates the possibility for artists to stay in town for longer and to take part in a greater contextual programme to enrich understanding of what they are about. The artists we have chosen will talk on all manner of exciting topics associated with performance art history. They will sometimes show ﬁlms of their work from years gone by, as well as footage from colleagues and associates to illustrate that history. What will be clear is that performance art is not live art. Black Market International, in residence as part of TIPA, kick-start everything in Aberdeen. At the generous invitation of Peacock Visual Arts, Citymoves and Aberdeen City Council, the artists are delighted to be travelling to the City for the very ﬁrst time. The three-day programme features Alastair MacLennan, Boris Nieslony, Elvira Santamaria Torres, Jacques Van Poppel, Jürgen Fritz, Lee Wen, Myriam Laplante, Norbert Klassen and Roi Varra and includes performances, installations and a workshop, as well as an opportunity to meet the artists on their arrival into Aberdeen. This discussion will be chaired by Lindsay Gordon, Director of Peacock Visual Arts. Back in Glasgow the following week, BMI will be joined by its remaining members Julie-Andrée T, Helge Meyer and Marco Teubner and will embark on an intensive week-long programme of Winter School courses, talks and an invited guest’s performance programme, all culminating in a 10-hour BMI encounter (BEGEGNUNG) in an exciting new multi-

arts space for the Festival called SWG3, five minutes from Kelvinhaugh Street in the West End (see back page for details). Black Market was founded 1985; they perform worldwide and this is their third and biggest project with New Territories. The Principle of the company’s work is BEGEGNUNG, a German term they feel has a deeper sense of meaning to them than the English term “encounter”. BEGEGNUNG happens between at least two people, it is an open system without necessarily building up to a group interaction, and without working out fixed actions, or fixed themes. The typical presence of a person in the space and her/his performative response, is the reason that often sets up the “meeting.” During each performance on the day there are likely to be many meetings between the different individuals, passing moments, as one understands the others’ way of action as a ritual initiation. They will create images, psychic pictures of action, that acknowledge an inner understanding between them.

ABERDEEN Venue: Various Date: Wednesday 16 to Friday 18 February Times: Weds from 1500 Thurs from 1900 Friday from 1100 Day pass: £7 Three-day pass: £15

The 10-hour encounter (BEGEGNUNG): GLASGOW Venue: SWG3, Glasgow

“The immaterial centre of this performance, of this BEGEGNUNG is ‘the between’ the human beings and ‘the between’ the things like the temperature, the frequency, the vicinity and distance and all the unspeakable things of the heart.” Boris Nielsony A specially commissioned essay Wells, plunging rivulets, warm Streams, lapsing Ice and Ebbings written by Boris Nielsony can be found on the website: www.newmoves.co.uk along with a BMI blog, podcast and more detailed information.

The challange of Black Market Interational by Sylvie Ferré can be downloaded from the Critiques & Essays pages on the website

Date: Saturday 26 February Times: 1100-2100 Day Pass: £12 (£9 conc), including the Critics Forum. Ticket holders will be issued with a non-transferable wristband that will give access to the venue throughout the day and to the Critics Forum taking place during the afternoon.

1. Boris Nielsony, performance: Bone Festival Switzerland, photo by: Martin Rindlisbacher 2. Marco Teubner, performance: 21 gram for heaven, Cancun, Mexico, photo courtesy of the artist 3. 3.Julie-Andree T, performance: Rouge, photo by: Christophe Raynaud de Lage 4. BMI, Performance: Bone Festival Switzerland, photo by: Martin Rindlisbacher 5. Norbert Klassen, performance: Black Market International meeting in Ilsede, 2005, photo by Nilz Bรถhme 6. Helge Meyer, performance: I promise, photo by Georg Anderhub 7. Jacques Van Poppel, performance: Black Market International meeting in Ilsede, 2005, photo by Nilz Bรถhme

Black Market International free public lecture and screenings programme TUESDAY 22 FEBRUARY

FRIDAY 25 FEBRUARY

Myriam Laplante

Elvira Santamaria

Expanding Performance in Installation and Sound

No solution, no problem! A Dialogue

+ Roi Vaara Performance Art of Site and Situation

WEDNESDAY 23 FEBRUARY

Alastair MacLennan TUT, BUT

The daily talks will be followed by a screenings programme that will illustrate a wealth of performance art history documented by individual members of BMI. The ﬁlms will run from 1800 until the evening performances at Ramshorn on Ingram Street (except Tuesday).

+ Lee Wen Art is Dead. Dead is Art

THURSDAY 24 FEBRUARY

Boris Nieslony How performance entered my life

+ Jürgen Fritz 1

Performance art teaching

Is This Performance Art? TEAM Network critics forum How do you write, talk or give critical feedback on performance art? Are the usual art history tools that critics use appropriate to reporting what’s happening in a performance art piece? Don’t we need other tools – perhaps of a more philosophical nature? How (and where) can we produce a better critical discourse, escaping the intellectually lazy “art that deﬁes deﬁnition” slogan and the boringly descriptive approach? TEAM (Transdisciplinary European Art Magazines) Network brings together key critics to discuss these questions and look for answers. Taking inspiration from the programme This is Performance Art / TIPA Europe, they will research in an open-discussion format over three days, and on the third day try to summarise what came up in the discussion and to propose new tracks to follow.

TEAM network has been launched as a move towards increased international co-operation and exchange of ideas. The network aims to enhance common thinking on priority issues and deﬁne a programme of joint initiatives and actions. It is currently made up of 11 European magazines. www.team-network.eu. The following magazines will be represented : Antoine Pickels and Sylvia Botella for Scènes (Belgium), Hervé Roelants for Livraison (France), Ann Marie Wrange for Dans Tidningen (Sweden), Andreja Kopac for Maska (Slovenia), Joanna Warsza for Obieg (Poland), Tiago Bartolomeu Costa for Obscena (Portugal). Special guest: Mary Brennan (Scotland).

Venue: SWG3, Glasgow Date: Saturday 26 February Times: 1400-1700 Tickets: Included in the price of the Day Pass: £12 (£9 conc) available on the door

1. Alastair MacLennan, performance: Killskill 2. Myriam Laplante, photo Nel Lim 3. Elvira Santamaria, photo Carmaquia 4. Roi Vaara, performance: Black Market Meeting in Ilsede, 2005, photo by Nilz Böhme 5. Jürgen Fritz, performance in Kunstvereinheim Kassel 6. Lee Wen, photo courtesy of the artist

Venue: Ramshorn, Glasgow Dates: 22-25 February (see individual lecture dates left) Times: 1600-1730 daily Tickets: free

BMI Invited Guests performance programme As part of their residency BMI were asked to list some European-based performance artists they would like to invite during their week residency in Glasgow, artists they felt would make ﬁtting contributions to our programme of discovery during TIPA / Europe.

Brief Artist Statements Denys Blacker Parallel Worlds — The Indian Ocean “In this work the artist explores the

ﬁne line that separates us and yet bonds us together in this fragile moment of our history. It is the fourth in a series of ﬁve works that explore the boundaries between the physical human body and the surface of our planet; the fragility, the entropy and the beauty, and the possibility, personally and globally, to nourish or destroy the life we have.”

+ “The opportunity to invite a group of European performance artists is a honour for the members of Black Market International. Over the period of the last 25 years BMI has worked on the idea of meeting. The group of artists we invite to New Territories are people that the individual members of Black Market met and with whom they exchanged something artistically and intellectually, or just on a human basis. From the quite young and fresh positions taken by artists like Judith Rötlisberger, to classical and well known artists like Tang Da Wu, or Monika Günther and Ruedi Schill, Black Market have invited artists who use unique images and work on their own precise vision of Performance Art. We are very happy the Festival has trusted our choices and are looking forward to meeting our guests and prolonging the idea of a constant meeting and exchange with them.” Helge Meyer, BMI

1. Nieves Correa, performance: Biography 10.2, photo by Joan Casellas – Arxiu Aire 2. Denys Blacker – Paciﬁc Worlds, The Paciﬁc, photo by Uma Bunnag 3. Agnes Nedregard, photo by Agnes Nedregard 4. Kurt Johannessen, photo Robert Alda 5. Judith Röthlisberger, photo An Debby 6. Eva Fuhrer, photo by Martin Rindlisbacher 7. Monika Günther/Ruedi Schill, photo by Alexi Bellavance

Agnes Nedregard Protect, protect, protect us from ourselves, we know what we are doing

“A single performer. An image. Gravity at play. Bending. Left, right, forwards, backwards. Following instructions. Making an effort, failing or succeeding. In the end, the moment is over. She leaves. Is there any reason to worry? We are protected.”

Kurt Johannessen

Monika Günther/Ruedi Schill “Our concept: silent, space, inside, reduced material, movements, gestures, improvisation, slowness, condensations, exposure, intensity, sound with objects, voice, time, nature, reﬂection, inspirations from animals, tendencies.”

Venue: Ramshorn, Glasgow Date: Wednesday 23 February Time: 1930 Tickets: £6 (£4 conc)

“A performance/installation by this artist and publisher of art books.”

+ Judith Röthlisberger Foxskin

“My artistic inventory includes performances, drawings, “landscape” pictures and oral stories. I become involved in intimate and ﬂeeting dialogues.”

+ Eva Fuhrer Vexations

“Three realms are compressed to form a whole: an empty room furnished with a footstool, the music Vexations by Eric Satie and a female person. Like waves forming and subsiding the sequence of movements seem to emanate from this person and vanish again.”

Venue: Ramshorn, Glasgow Date: Thursday 24 February Time: 1930 Tickets: £6 (£4 conc)

BMI Invited Guests performance programme

Nieves Correa Biography

“As an artist I ﬁnd nourishment in daily life, it inspires my work, perhaps because I am not very imaginative and always have my feet on the ground. The common, daily nature of my performances is not only based on what I say, but on how I say it. With my presence in the chosen space and with the materials I use, I like building up different stories.”

+ Sandra Johnston Accounted For

“My performances are experiential in approach, and could be considered as physical relics of some previous moment. They are usually assembled from direct observations of a focused public encounter, which is then rapidly rehabilitated into another context.”

+ Tang Da Wu “I have not decided what to do for my presentation, it is sometimes difﬁcult for a performance artist to 1 decide so far in advance. I would like to leave it open and respond to the space and situation upon arrival and I will develop a work based on my investigations.”

+ Urnamo (Ali Al-Fatlawi, Wathiq Al-Amire) “Our view is the view from exile. It allows us a critical attitude, which is coupled with the hope of returning to our home country one day. Our confrontation on the theme of war is always a confrontation with the artistic medium. For ten years our performances have carried the same basic idea but in different localities where varying images or content can result.”

2 1. Nieves Correa, performance: Biography 10.2, photo by: Joan Casellas - Arxiu Aire 2. Sandra Johnston, performance: Given In Evidence, photo by: Mariusz Marchewa Marchlewicz 3. Tang Da Wu, photo by: Nel Lim 4. Urnamo (Ali Al-Fatlawi, Wathiq Al-Amire), performance: PAD Festival in Mainz Germany in May 2010

Venue: Ramshorn, Glasgow Date: Friday 25 February Time: 1930

Full artist statements, biographies, credits, website addresses and video clips can be accessed at www.newmoves.co.uk

Tickets: £6 (£4 conc)

THIS IS PERFORMANCE ART / EUROPE CONTINUES WITH....

Polish Roots Jerzy Beres, Zbigniew Warpechowski, Janusz Baldyga, Artur Tajber and Zygmunt Piotrowski

This Is Performance Art (Europe) continues with a slice of performance art history from what was a very active scene in Poland until the 1980s. The Festival is privileged to be bringing to Glasgow a rare appearance by five of the most respected and internationally acclaimed performance artists from that time to perform for this one-off special occasion. All the artists will contribute to an afternoon panel discussion about this illuminating history, all of whom will present their personal reflections on the roots of Polish performance art. The talk will be moderated by artist, curator and academic, Professor André Stitt from the Centre for Fine Art Research at Cardiff School of Art & Design [UWIC]. There is no word for “performance” in the Polish language. Therefore it was relatively easy for Polish artists to accept Performance Art as an artistic movement. Although Wlodzimierz Borowski’s syncretic events, Tadeusz Kantor’s happenings and Cricot2 Theatre activities took place in the 1960‘s, it was the artist Warpechowski who [by his own declaration] defined himself as a “performer” in 1967, whilst the sculptor Jerzy Beres started creating live actions that he defined as ‘manifestations’. However, performance art (“sztuka performance”) as a term was not officially used

until the mid-seventies when Poland’s ﬁrst Performance Art Festival: I AM [International Artists Meeting] was held at Warsaw’s Remont Gallery, which was when critics and theorists also started to adopt such terminology. The role of Grupa Krakowska as this time should not be underestimated either; Beres collaborated with Cricot2 and he and Warpechowski were also members of Grupa Krakowska.

Panel Discussion: Venue: CCA cinema, Date: Saturday 5 March Times: 1400-1630 Tickets: Free

The panel discussion will trace these roots and subsequent evolution into a deﬁned contemporary discipline in Poland. Through ﬁrst hand knowledge and experience, the panel will investigate the relationship of Polish performance art to the State, the Communist Party, the Catholic Church, and the “dark age” of martial law (1981-1988) when, as Artur Tajber relates, “...the real artistic activity existed only in the deep underground.” The legacy of this discontinuation of the arts as critical cultural discourse during martial law created an identity for Polish performance art that remains intrinsically political to this day.

Performances: Venue: CCA 5 & gallery, Glasgow Date: Saturday 5 March Time: 1930 Tickets: £10 (£6 conc)

These ﬁrst-hand historical and sometimes contrary reﬂections are followed by a programme of performances by the participants.

Jerzy Beres, performance: Romantic Manifestation, Old Town Marketplace, Krakow 2006, photo by Artur Tajberp

Brief Artist Statements (please go to www.newmoves.co.uk for more detail, biographies and web links)

Artur Tajber TIMEIT - Glasgow

“This install-action project is part of a long cycle of WALK’MAN performances dating from the late ‘nineties, TIMEMIT is the concept of an “inner-space” precisely constructed, durational and directly related to the experience of a particular human being in movement. The space for TIMEMIT-Glasgow will be built up of many video samples documenting elementary parts of actions realised inside the real architecture, in the real location. Each of those actions will measure that space, step by step. Speciﬁed and classiﬁed samples will be emitted by several video-projectors onto the walls or screens, the acoustic aspect of the installation is of the highest importance.”

Janusz Baldyga Be careful, glass

“The first part of performance is a video film, The marked places, about the deconstructing of ideas of democratic solutions. The play with the marked places that goes on between the governing elites remains a socially incomprehensible operation. The second part is very dynamic, I use a piece of glass and a picture of bird of prey. I treat the silhouette of the bird, positioned on the surface of a fragile glass, as an icon of danger, a warning against crashing into an invisible obstacle that has been placed in the sphere of fiction. The consequence of the mystification is a salvation. The reading of the illusory sign and implementing it into the reality of life guarantees a rescue. Through putting a sign of equality between the still, flat image and the dynamic spatial reality of the wild bird, is in reality taking part in a common mystification.”

2 1. Artur Tajber, performance: TIMEMIT, photo by Roi Vaara 2. Janusz Baldyga, performance: Marked Places, photo by Marcin Kiełkiewicz 3. Jerzy Beres, performance: Romantic Manifestation, photo by Artur Tajber

Jerzy Beres TOAST

A meeting between the author and his audience during which The Author will create a Certificate of Fact (or Certificate of Matter). Certificate of Fact (or Certificate of Matter) is an important term used often by Beres – in Polish it is “dokument rzeczowy”, a term adopted from language of the low, juridical dialect, and it is a term used for material evidences, or documents of crime.

Noah Warsaw (Zygmunt Piotrowski) Silently and by rules of Thine Art I am trying to inhale a vowel of the pronunciation “ j ﬁ ” (archaic Hebrew: beauty)

“An ephemeral object of art generated as a vibrating air-column in the trachea wind instrument, set up by the counter-breath performance in line with the laws of physics related to the closed-pipe phenomena, wherein the elastic standing wave of a given frequency reﬂects the course of the cranial nerve X (nervus vagus) along the entire length of that nerve complexity, said elastic standing wave of the vibrating air-column characterized in that it creates new range of vestibular sensuality of human.” Paradigm of Creation © Noah Warsaw, 2010

4. Noah Warsaw (Zygmunt Piotrowski), performance: In Place of Passing, photo by Mark Ward 5. Zbigniew Warpechowski, photo by 6. Zbigniew Warpechowski, photo by

Zbigniew Warpechowski

Poematki

“I am 72 years old and for 43 years I travel the performance art road. This time in Poland was signiﬁed by many storms and changes and my art was changing in this way too. Only one rule was my primary and unchangeable principle – to aspire to maximum creativity and responsibility for my work. It is my ethics – to go against circumstances, tendencies and existential necessities. It is related to the sense of freedom and artistic independence. It is not easy and not always possible and, because of that, I cannot describe in detail my future work with you in Glasgow, all those weeks away. I intend to forget my past activities, I am trying to start from “0”. I will follow things such as today’s requirements, needs, paths, or I am just continuing the way I started before. If it is not possible, if it is not going well, then I return to painting, poetry, philosophy, and more recently to sculpture – to control my creativity and artistic abilities, to keep a distance to myself.”

THIS IS PERFORMANCE ART / EUROPE CONTINUES WITH.... Venue: CCA 5, Glasgow

Via Negativa

Date: Tuesday 15 March Times: 1300-1530 Via Nova Symposium 1600-1900 Naked Presence

Via Nova via New Territories Via Negativa is an international performing arts project based in Ljubljana under the artistic direction of theatre director Bojan Jablanovec. For New Territories Via Negativa presents a special programme of nine performances from the Via Nova series in three chapters entitled Via Nova Symposium, Naked Presence and Money, Blood & Love. These chapters show the company exploring three basic ﬁelds of their work: thinking, presence and relation. Over three days they will work with participants in their Winter School to REVIEW, REPLACE and RENEW these VN works and represent them to audiences on the Saturday afternoon. The outcomes of this process of reviewing, replacing and renewing will have a signiﬁcance beyond the experiences of the participants. While some artists may choose to re-visit their own earlier works, the re-enactment of performances by other artists has sharply divided opinions. On Facebook, the Performance Re-enactment Society claims that “collaborative performance re-enactments are acts of conservation and transform past works into new events.” Also on Facebook, the Anti Re-enactment Organisation “promotes the medical notion that performance art is not an object nor an historical reproduction.” Sean O’Hagen, interviewing Marina Abramovic in The Guardian (03.10.2010) notes how she has courted controversy by her decision to re-enact works by other performance artists. This has drawn ire from the purists, including her ex-partner, Ulay (who) recently told the New Yorker; “I don’t believe in these performance revivals. They don’t have the ring of truth about them.” Abramovic’s response to O’Hagen was that: “Performance art has to live and survive. It cannot be put on walls. If we do not perform and recreate it, the art fuckers and the theatre fuckers and the dance fuckers will rip us off without credit even more than they do anyway. I am sick and tired of the mistreatment of performance art. I want to bring young people in afresh ... The best way to do that is to bring those works alive, to perform them.” There is divided opinion within this Festival about the merits, or otherwise, of reproductions of past works but we are keen to open up the debate beyond academic circles.

Photo by Marcandrea

The VIA NOVA performance series “VIA NOVA is a series of (fourteen at present) performances in which we are engaged in questions about relations between old and new, creation and destruction, theory and practice, contemporaneity and tradition, presence and absence. Via Nova is a working platform that allows performers autonomous investigation of different performing strategies: lecture, dance, video, interview, auction, concert, body-art and visual theatre. Performers act as independent authors: they sign their work with their name; they give it their own title and put it in their own context. In Via Nova collective presentations, we link these mostly small format performances (solos, duets) into a new cohesion but with more complex structures to directly address the context in which they are presented.”

2000-2200 Money, Blood and Love

Chapter One: VIA NOVA SYMPOSIUM, an investigation into the relationship between performing arts theory and practice, including the following performances: What Joseph Beuys told me while I was lying dead in his lap, solo performance by Boris Kadin No One Should Have Seen This, lecture performance by Bojana Kust and Katarina Stegnar Interview with an Artist, interview performance by Kristian Al Droubi Duration of 2hrs Chapter Two: NAKED PRESENCE, a presentation of three of our most basic (reduced) strategies of being present in performing art situation, including the following performances: Invalid, dance performance by Primoz˘ Bezjak Viva Mandic´, solo performance and video work by Marko Mandic´ Pure Performance, visual performance by Jaka Lah Duration 2h50 Chapter Three: MONEY, BLOOD & LOVE, three performances set up three basic questions about the relationship between performer and audience:

Tickets: £12 (£9 conc) Ticket holders will be issued with a non-transferable wristband that will give access to the venue throughout the day

Via Negativa Public showings: Venue: CCA 5, Glasgow Date: Saturday 19 March Time: 1430

Much more detail on the individual works in Via Negativa’s programme can be found at www.newmoves.co.uk

1: Are you ready to pay for our work as much as we deserve to be paid? 2: If you expect something new and original why would you like to see blood over and over again? 3: What we have to be ready to do for your love? Performances: Buyer with an Eye, auction performance by Katarina Stegnar Game with Toothpicks, documentary performance by Boris Kadin and Kristian Al Droubi Tonight I Celebrate, a concert for performer and his audience by Uros˘ Kaurin Duration 1hr20 Concept and direction: Bojan Jablanovec Performances conceived together with: Katarina Stegnar, Boris Kadin, Kristian Al Droubi, Marko Mandic´, Primoz˘ Bezjak, Jaka Lah, Uros˘ Kaurin, Bojana Kunst Support: Ministry of Culture of Republic of Slovenia and the City of Ljubljana

www.vntheatre.com

Artus

Venue: CCA café, Glasgow Date: Wednesday 9 March Times: 1930 Tickets:

£6 (£4 conc)

The Festival’s performance cafe is an informal but exciting opportunity for us all to meet up. While the public and the artists are having a talk at the CCA bar, visual, music and theatre actions will interrupt and enrich the evening. The purpose of these actions is to revive the real spirit of performance art with thoughtful, playful and formally daring episodes that break through the boundaries of genres. Relying on and challenging their social sensitivity the members of Artus seek a direct, live contact with their environment. The “table societies” that are initially isolated gradually become a real community of the shared event. The performers of Artus (actors, dancers, musicians, visual artists) plan actions especially for the evening, inspired by Glasgow and the Festival. Gábor Goda founded his company, ARTUS in 1985. Originally, ARTUS was a dance theatre-based company, but the performances cannot be considered as purely dance or theatre shows. Over the last ten years, the Company has incorporated other art forms and new technologies into its performances, such as the use of visual and audio elements, computer and video art installations and site speciﬁc elements. Artus Company present about 70 performances a year, half of them in the Artus Studio in Budapest, the rest at festivals and theatres across Europe, as well as in the USA, Russia, Israel, Mexico, New Zealand and Egypt. “Our performances are mostly inspired by the confessions, personal experiences and memories of the company members. The focus is on the making, on the creative process, not on the production of theatre pieces. It is a creative process for all the participants, both for the artists and the viewers.” Gábor Goda

Presented with the support of the Ministry of National Resources of Hungary and the National Cultural Fund of Hungary www.artus.hu a selection of Artus works can be viewed here: http://www.youtube.com/proﬁle?user=artusvideo#g/u

Photo by Imre K vágó-Nagy

Photo by György Tr.Szabó

Photo by Péter Lipka

Ephemer Works

Cabaret Futura

Venue: The Arches, Glasgow Date: Friday 11 March Times: 1800-0100 (on 12 March) Tickets: £12 (£9 conc)

Of course, one version of performance art history goes that it was the Dadaists in Zurich during the time of the first world war who invented, if not the term, then certainly the form that later became recognised as performance art and we are, after all, only looking at Europe with TIPA this year. Meeting in a small tavern on Spieglestrasse that became known as Cabaret Voltaire, founders Hugo Ball and Emmy Hemmings held regular events that soon attracted artists from all over Europe fleeing their countries to a neutral Switzerland. The cabaret provided an ideal platform for the expression of artistic freedom and experimentation, and in an atmosphere that encouraged political revolt against the war and the culture that allowed it. There evolved many other manifestations of this event until 1923, including the Berlin Dada Group. Influenced by a trip he made to New York in the ‘70s, Richard Strange has been organising the hugely successful Cabaret Futura events in London for many years. In keeping with this strand of programming for New Territories 2011, we asked Richard to curate a special Cabaret Futura event for Glasgow.

Full details about the Cabaret Futura artists and their work can be found at www.newmoves.co.uk

“It was in New York that I had really started to get ideas for Cabaret Futura. At that time there were some very exciting Performance Art spaces in Manhattan. Places like The Kitchen, PS1, The Artists’ Space and Franklin Furnace would have regular events featuring artists like Laurie Anderson, Karole Armitage, Rhys Chatham and the original stand-up/monologist Eric Bogosian. It gave me the idea to present this kind of performance work in a mutated European cabaret environment and in 1980 Cabaret Futura was born in Soho, London.” R. Strange The participating artists include: Richard Strange, Kelly Dearsley, Graeme Miller, Samantha Sweeting, Liliane Lijn, David Blandy, Haroon Mirza, Richard Wilson, Anne Bean and Chris Gladwin.

+ Meet The Artist: Richard Strange at the Apple Store Richard Strange and Kelly Dearsley talk about how they create music, ﬁlms, still photographs and writing using their Macs. Part of a partnership programme between New Territories and Apple’s creative professionals events programme. more information about Apple creative professionals events: 0141 300 4950 | apple.com/uk/retail/buchananstreet We are seeking volunteers who would like to participate in various roles in Liliane Lijn’s Power Game, please email: meryl_newmoves@me.com

1. Liliane Lijn, performance: Power Game, still image from a video ﬁlmed by Jonathan Clabbum, Amy Neil, Rob Morgan 2. A.Bean/R. Wilson, RED JAILIRAQ, photo by Mark TerryLipka 3. Kelly Dearsley and Richard Strange, performance: I’ve a Feeling We’re Not in Kansas Anymore, photo by I tai Doron

Venue: The Apple Store, 147 Buchanan Street, Glasgow Date: Thursday 10 March Time: 1800 Tickets:

Free

Orthographe, photo by Cesare Fabbri

A Cinematic Space Four shows, one ticket — an evening of works by international artists making their UK debuts at New Territories, using projection and screen as performance tools. Photo by Michael Fernández

david fernández Heart & Mouth & Deeds & Living

Orthographe Controllo remoto

Photo by Cesare Fabbri

“Italian artists Orthographe (Alessandro Panzavolta and Angela Longo) combine visual art, performance and theatre in Controllo remoto, a landscape in continuous metamorphosis. A diaorama of war scenarios, it talks about war to interrogate the gaze and the history (of the image) connected with power ideologies and politics. If, for cultural theorist Paul Virilio, there is no war without representation, nor sophisticated weapons without psychological distortion, here the weapons are not only destructive devices but also perceptive ones, because war, cinema and information are almost virtually

indiscernible. The theatre weapon replaced the theatre of operations. Controllo remoto shows the intimate, technical and ideological functioning of the (war) images, which open up the vision on their own possibilities, as if the images were responsible for making visible what the history generates beside itself. The montage alludes to a form of total contemporary spectacle where representations of reality proceed the reality itself, substituting it – as in the development of war machinery that anticipates the reality, the battleﬁeld, the strategic aim, without having seen them – thanks to the privilege of control.” www.dadaprod.net

Photo by Cesare Fabbri

Bernhard Bach, 6th son of J. S. Bach, died of disgust at the age of 24. Fleeing from the unbearable shadow of his father and his programmed life as an organ virtuoso, he left behind numerous debts and an ashamed father. Killing your father must be a real pisser when your father is Bach. Through a narrative structure composed of different technological elements present in everyday life (screens, remote controls, video games, etc.), performer david fernández is Benhard Bach talking to us about music, his anxiety, his rage and his father.

“I use theatre as a space for communication, building my discourse with the elements that surround me. I use them. I take advantage of them but I owe nothing to culture. Nothing. I do to Bach. I owe him everything. But Bach is not culture. Bach is a bear.” www.davidfernandez.org

A CINEMATIC SPACE Venue: The Arches, Glasgow Dates: Thursday 10 March Time: 1900 Tickets: £12 (£9 conc)

Stéphane Gladyszewski Corps Noir

At the crossroads of performance, visual art and digital arts, Stéphane Gladyszewski seeks to explore the limits of perception, calling on all ﬁve senses. A graduate of the interdisciplinary studies programme at Concordia University’s Faculty of Fine Arts, he is a multidisciplinary artist interested in the intersection of materials, bodies, and light, particularly in interactive installations and multimedia performances. Towards the end of his studies, his multidisciplinary approach asserted itself as he created Ab Ovo Terre Promise, an interactive “ecosystem,” then Ov (2002), an optical construction, and In Side (2003) a performance piece with integrated video images. With Aura (2005), Gladyszewski consolidated his practice of integrating video, bodies in movement, sound, and matter. With Corps noir, he chooses to become the medium of the message, to expose his

inner self and to produce an exploded self-portrait based in the complexity of a star-studded identity and the phantasmagorical constructions of the psyche. www.danielleveilledanse.org

1. Stéphane Gladyszewski, photo by Nicholas Minns 2. Justine Ricard, photo by Stéphane Gladyszewski

Welcome to a singular and droll world created by Jean-Baptiste Maillet and Romain Bermond, where art and music play in sync as the duo successively take on the roles of drawing artist, sound-effects engineer, one-man band, projectionist, storyteller and props man. Watch the scenes flow together as in a film, an entertaining silent film alternating between fully fledged stories and flights of the imagination. Two stories intersect in this show. The first, a tale of two silhouettes on a trip to discover the world; the second, that of a jazz singer kidnapped by extra terrestrials. At the heart of the show lies also the emergence of a work of art, as light is shed on its creation. Each sequence is put together in front of our very eyes as drawings take shape and are projected onto a giant screen whilst an original music piece is composed live. Witness the unexpected transformations of the artist’s table as it successively turns into an audio drawing board, a giant kaleidoscope and even an overhead projector showing paintings being made with sand. Full artist statements, biographies, production credits and video clips can be accessed at: www.newmoves.co.uk

Stéréoptik

video: www.myspace.com/ stereoptik

M A I N S TA G E P R O D U C T I O N

David Zambrano For over 25 years, David Zambrano has been a monumental figure in the international dance community and his passion for cultural exchange continues to influence his work. Born in Venezuela, Zambrano spent 15 years in New York, and now lives and makes work in Amsterdam. Teaching and performing internationally, Zambrano is an ambassador and dynamic link across many borders. His projects bring together artists from all over the planet. An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many. His development of the “Flying Low” and “Passing Through” techniques are among recent innovations that have helped to lead improvisational dance into an exciting future. His most recent choreographies include HOLES (2009), SHOCK (2009), and Soul Project (2006). He was recently awarded a Guggenheim Fellowship 2010. New Territories offers a rare opportunity to see Zambrano perform his improvisations live on stage. The performance is followed by a chance to Meet the Choreographer where Zambrano will discuss his work with Mary Brennan, dance and performance critic for The Herald newspaper. Presented in collaboration with Dance Base.

Photo © Anja Hitzenberger

Photo by Matt Voorter

Venue: Thomas Morton Hall, Leith, Edinburgh Date: Saturday 19 February Time: 1930 Tickets: £10 (£6 conc)

“dancing with a precision and dynamic vitality ... quite breathtaking.” Rose Anne Thom Dance Magazine “the space around him seems full of menacing beauty ... his dancing is, as always, boundlessly resilient.” Deborah Jowitt The Village Voice

More detail about the work and the company can be found at: www.newmoves.co.uk and www.davidzambrano.org

M A I N S TA G E P R O D U C T I O N

Compagnie Didier Théron

Venue: Tramway 1, Glasgow Date: Tuesday 22 March Time: 1930 Tickets: £11 (£6.50 conc)

Hara-kiri “Hara-kiri is a response to the world, a political act, presented to us through the geometry of the physical body, a spectacle of humanity. Hara-kiri is a weapon. The piece revolves around us, Hara-kiri is us.” Performed on a large white square, elevated (or lowered) by a ceiling of forty ﬂuorescent lights, six dancers represent a family group, the beginning of humanity.

More detail about the work and the company can be found at: www.newmoves.co.uk and www.didiertheron.com

Photos by Marc Gaillet

Didier Théron lives and works in Montpellier. He studied dance with Merce Cunningham, Dominique Bagouet and Trisha Brown. In 1987, he founded his own company, created his ﬁrst piece Les partisans and received the ﬁrst prize for choreography from at the Festival Les Hivernales d’Avignon He performed at New Territories in 1993 and in 2004.

Hara-kiri is a powerful ritual in Japan, with a profound significance in the collective conscience. Didier Théron sees this act of sacrifice and purification as similar to European pagan rituals that inspired Stravinsky. For Théron, the form of this element of Japanese culture is rich with signs. “Hara-kiri illustrates one of my primary choreographic pre-occupations: my interest in the notion of signs, placed at the centre of a work. I create dance using these signs and their mathematical combinations in space, time, and rhythm. Using collage and combinations, I accumulate and condense images and details to imprint them on the eye and the mind. Details taken from Goya’s Black Paintings and Bacon’s work suddenly appear in the dance. There are also ‘signs’ of dance, fragments of movements, ‘borrowed’ from Béjart, Cunningham, Marin, Bagouet, Forsythe.”

Choreography/Artistic director Didier Theron; Artistic consultant Michèle Murray; Composer Francois Richomme; Produced by the Compagnie Didier Théron; Co-production with the Théâtre Scène Nationale of Narbonne and the City of Mende. The Compagnie Didier Théron – Espace Bernard Glandier Montpellier is subsidised by the D.R.A.C. Languedoc-Roussillon (Ministry for the Arts) au titre de Compagnie conventionnée, the Region LanguedocRoussillon Council, the Herault County Council, the City of Montpellier.

“a joy to watch” Mary Brennan, The Herald “big, poetic, technically impressive choreography” Sunday Herald “a marvellous fusion of tension and ﬂuidity” The Scotsman “subtlety, daring and great inventiveness” The Independent

M A I N S TA G E P R O D U C T I O N

Liquid Loft

Venue: Tramway 1, Glasgow Date: Saturday 12 March Time: 1930

Posing Project B – The Art of Seduction

Tickets: £11 (£6.50 conc)

“The game of seduction is a complex one: you have to make the other believe that you have what s/he needs without rousing her/his suspicion of your personal motives. Or, maybe, you just need to be the most desirable object playing hard to get. Seduction then can be seen to aim at ﬁnding a connection by means of mutual deception.” Posing Project B was awarded the Golden Lion for Best Performance at the 2007 Venice Biennale. The Jury was impressed by the way in which Haring “using irony, has mirrored and transformed the public perception of eroticism into a piece which displays our ubiquitous contemporary taste for exhibiting bodies. It is an organic work combining sound, text, lighting, costume, setting and a dynamic rhythm of construction. The immediacy of the choreography and interpretation gets under the skin in a subtle and complex way ... a fresh vision for the future of dance.” Founded in 2005 by choreographer Chris Haring with musician Andreas Berger, dancer Stephanie Cumming and dramaturgue Thomas Jelinek, Liquid Loft interconnect dance-based performances and installations with other forms of contemporary art.

Photos by Haring

Posing Project B is a co-production of Liquid. Loft, La Biennale di Venezia, ImPulsTanz Vienna International Dance Festival and Tanzquartier Wien. With the support of Wien Kultur / MA7, Stadt and the Austrian Bundesministerium für Unterricht, Kunst und Kultur. Thanks to Spielboden Dornbirn and Austrian Cultural Forum London.

More detail about the work and the company can be found at: www.newmoves.co.uk and www.liquidloft.at

M A I N S TA G E P R O D U C T I O N

Louise Lecavalier

Venue: Tramway 1, Glasgow Date: Tuesday 8 March Time: 2000 Tickets: £11 (£6.50 conc)

Children + A Few Minutes of Lock Then with In A Few Minutes of Lock, Lecavalier plunges back into her former accomplice Édouard Lock’s extreme, incandescent style of dance. Eleven years after she left La La La, she is spurred by the challenge of its physicality and by the desire to find out “what the body remembers.” Set to the incantatory music of Iggy Pop, A Few Minutes of Lock features three updated duets – excerpts from 2 and Salt – that distil the sheer adventure, intimacy and passion of these pieces. Lecavalier performed in each of La La La’s energetic, acrobatic productions until Salt in 1999. She embodied dance on the outer edge, dazzling audiences worldwide and influencing mainstream contemporary dance, pop music and music videos. She participated in each of the company’s major collaborations including David Bowie’s Sound and Vision tour, The Yellow Shark concerts performed by Frank Zappa, and Michael Apted’s film Inspirations. In April this year she was awarded the prestigious Order of Canada.

Louise Lecavalier’s work with the iconoclastic Québécois dance group La La La Human Steps throughout the 1980s and ’90s made her one of the most recognised and exciting dance performers in the world. Making her first ever visit to the Festival, Lecavalier presents her recent double bill of duets. The first, Children, conceived by choreographer Nigel Charnock, the unrepentant enfant terrible of British physical theatre, is a playful take on the heaven and hell of a couple where the fireworks are non-stop.

Production: Fou glorieux, in co-production with Festival Oriente Occidente (Rovereto); tanzhaus nrw (Düsseldorf); Festival TransAmériques (Montreal); Usine C (Montreal); Atmo Productions (North Hatley); as well as : the CanDance Network Creation Fund, National Arts Centre (Ottawa), Harbourfront Centre (Toronto), Brian Webb Dance Company (Edmonton), Dance Victoria (Victoria), supported by the Dance Section of the Canada Council for the Arts. Fou glorieux is supported by the Conseil des arts et des lettres du Québec, the Conseil des arts de Montréal and The Canada Council for the Arts.

1. A Few Minutes of Lock, photo by André Cornellier 2. Children, photo by André Cornellier

More detail about the work and the company can be found at: www.newmoves.co.uk and www.louiselecavalier.com

M A I N S TA G E P R O D U C T I O N

O Vertigo

Venue: Tramway 1, Glasgow Date: Saturday 19 March Time: 1930 Tickets: £11 (£6.50 conc)

Onde de Choc (Shock Wave)

All photos © Ginette Laurin

With more than 50 choreographic works to her credit, Ginette Laurin is one of Canada’s foremost ﬁgures in contemporary dance. Trained as a gymnast, in modern dance, and in classical ballet in Montreal and New York City, she became a sought-after performer when she began her career in Montreal at the beginning of the 1970s. She founded O Vertigo in 1984. The company soon made waves with its expressive power and by 1986, consecutive critical and popular successes brought Ginette Laurin the Jean A. Chalmers Prize. Since then, she has established an international reputation for creating, year after year, striking choreographies that reveal an extraordinary ability to renew gestural language and images to better evoke the underlying themes in her work. Besides her activities at O Vertigo, she creates pieces for other dance companies and transmits her knowledge as a teacher and lecturer at home and abroad.

Onde de Choc, the new show from the renowned Canadian company led by Ginette Laurin, probes the inherent sonority of the body, exploring and amplifying the sounds that are directly generated by the dancers’ movements. O Vertigo ﬁrst performed in Glasgow as part of Mayfest in 1993 with La Chambre Blanche, returning in 2002 with Luna, which the Guardian described as “uplifting, heavenly dance.”

O Vertigo is supported by the Conseil des Arts et des Lettres du Québec, the Canada Council for the Arts, and the Conseil des arts de Montréal. The creation of Onde de Choc was supported by a donation from the Imperial Tobacco Canada Foundation in the framework of its New Creation in the Arts programme. Support was also received from the Ministère de la Culture des Communications et de la Condition Féminine (Québec), The Ministère des Relations Internationales (Québec), and from the British Council.

“Resolutely inventive, the construction of the piece is both rigourous and poetic; the movements of the eight dancers are ﬂuid, harmonious, and possess an agreeable narrative aspect. Martin Labrecque’s lighting is pure magic. A stirring sound dimension is created by the music of Michael Nyman ... and the electro-acoustic works of Martin Messier. ... A true success, Onde de Choc will carry knowledgeable audiences and novices along in the same wave.” Nathalie de Han, La Scena Musicale (Canada) “It is certainly a work that will continue enhancing the international reputation of Laurin and O Vertigo. ... It is a great example of the integration of many collaborating disciplines in creating a fascinating piece of theatre that asks questions – and challenges assumptions – in only the way that excellent contemporary dance can.” Graham Watts, Ballet.co, July 2010

More detail about the work and the company can be found on: www.newmoves.co.uk and www.overtigo.com

M A I N S TA G E P R O D U C T I O N

Sol Pico

Venue: Tramway 1, Glasgow Date: Saturday 26 March Time: 1930 Tickets: £11 (£6.50 conc)

Photo by Oscar De Paz

El Llac de les Mosques (Flies Lake) Getting old is not just a matter of ageing. Each wrinkle is a question in itself, and the mirror no longer tells that you’re still the most beautiful of them all... On the other hand, how do you avoid that mid-life crisis? If the passing of time is less forgiving of some women than others, Sol Picó succeeds in slowing down its process by engaging fully with the world, absorbing its most positive energy and transmitting it back, fresh and healthy. In any event, enjoy the journey and ignore the clock, there’s still sufficient time left to do the things you’ve always wanted to... For Sol Picó this show is the fruit of a catharsis; the search for evolution through change. Under the pretext of revising her past, she decided to structure this show as a rock-n-roll concert with a 1980’s aesthetic, where she could be the “singer”. It explores the choices we all face in middle age with her usual mix of dynamic dance, surrealism and black humour. She is joined on stage by an exceptional live band playing rock, blues, flamenco and more. Sol Picó is Spain’s reigning queen of contemporary dance. She first performed in Scotland as a young choreographer in 1999, a component of the Festival when it was called New Moves; she returned to great acclaim with La Dona Manca or Barbi-Superstar for New Territories in 2006. The El Llac de les Mosques premiere took place at the Mercat de les Flors and the Paraga Centre in March 2009. Co-producers: Sol Picó cia de Danza, Mercat de les Flors, Centro Parraga. Co-presenter: RW International Arts.

“Pico’s own charismatic presence and panache – whether hopping on pointe, or dancing like a waif – is too powerful to ignore” Mary Brennan, The Herald

More detail about the work and the company can be found at: www.newmoves.co.uk and www.solpico.com

photo by Marta Vidanes

With the ﬁnancial support of Institut Ramon Llull, INAEM, Ministerio de Cultura, CONCA, Generalitat de Catalunya, Dpto. de Cultura, ICUB, Ajuntament de Barcelona

“What makes her so special is her enormous sense of humour and valiant attitude towards life” La Opinión

M A I N S TA G E P R O D U C T I O N

Spalding Gray: Stories Left To Tell Photos by Richard Termine

Video still from video by Lucy Sexton

Spalding Gray, was an actor, playwright, screenwriter and performance artist, founder member of The Wooster Group and one of the most revered and irreverent storytellers of our time. Sitting alone at a desk on a bare stage, delivering hilarious and moving monologues, he achieved celebrity status with the ﬁlm adaption of his monologue Swimming to Cambodia in 1987. His work lives on in the funny, poignant, and ultimately life-afﬁrming Spalding Gray: Stories Left to Tell. The show appeals to long-time Gray fans as well as newcomers to his work. It is co-conceived by Kathleen Russo, Gray’s widow, and Lucy Sexton, who have assembled excerpts from both renowned and neverbefore-seen work to span the artist’s extraordinary life and career. The piece unfolds chronologically, from recollections of childhood swimming trips with his mother and tales of awkward adolescent sexual encounters, to the joy Gray took in being a father himself.

Venue: Tramway 1, Glasgow Date: Thursday 24 March Time: 1930 Tickets: £11 (£6.50 conc)

“Suddenly, ﬂickering before you, is a ﬁlmed image of late-vintage Mr. Gray dancing on a stage, and you feel the deep, lonely ache of something precious lost. Thank Heaven that Stories Left to Tell reminds you that something precious remains as well.” The New York Times

The ﬁve-person cast, speaking directly to the audience, makes each step of Gray’s journey engaging. One performer covers “adventure” while others tackle “love”, “career”, “family” and private journal entries. This lets us focus more intently on the words, clarifying that Gray could write in multiple voices while continuing to explore his singular – and often incredibly humorous – quest for self-understanding. Words by Spalding Gray Concept by Kathleen Russo, Directed by Lucy Sexton, Guest Performer – David Richmond This engagement is supported by Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation.

“Spalding Gray’s words not only relate the story of his own life, they allow a new group of artists to reﬂect on what being alive can mean. We see the way joy and pain can ﬁll any moment simultaneously, forcing us to feel both at once. The elegant refashioning of Spalding Gray’s work asks us to embrace that paradox by reminding us it’s impossible to avoid. A moving piece of theater”. Mark Blankenship, Variety

More detail about the work and the company can be found at: www.newmoves.co.uk and www.mappinternational.org/ programs/view/216

small dances / BIG IDEAS Showcasing the work of three of Scotland’s most innovative and captivating choreographers, small dances / BIG IDEAS features three new works that are big on ambition but small in scale and budget. Each artist has been increasingly appreciated by critics, producers and audiences as they continue to develop their talents and ideas but, in a small country, will they ever be able to realise their aspirations?

Anna Krzystek

Venue: Tramway 4, Glasgow Date: Tuesday 8 March Time: 1900

Face On

Concept, choreography & performance – Anna Krzystek Original sound score – Tom Murray Video installation – Daniela De Paulis & Anna Krzystek www.annakrzystek.com

Anna Krzystek is a Glasgow based choreographer and performer, she has also been a core member of Helsinki-based performance company Oblivia since 2000. As a solo artist Anna is currently engaged in creating an ongoing series of pieces that connect interdisciplinary elements from dance, ﬁlm, sound and installation. Her interest is in ﬁnding ways for these elements to exist within the same space and time. “One could go on for a long time about the genius and wonderful execution of Anna Krzystek’s dance performance – she was absolutely superb! This is a work that plays with our perceptions and perspectives of performance as well as the concepts of transformation or resolution.” Robert Beaton “Figure This (the third solo work in the series) asserted not only Krzystek’s mental and physical stamina, but her capacity for the kind of intellectual processes that few choreographers are equipped to explore.” Mary Brennan, The Herald

Photo by Tim Nunn

Face On is the fourth solo piece in a series of work based on the premise of waiting. Waiting is experienced by everyone everyday. As in the previous three pieces, the performer is referred to as the figure. Her presence is at once both immediate and distant as she is placed in relation to time, space, sound, object and filmed image. The carefully deliberated juxtapositions of the various elements forming Face On create space for individual experiences to arise. Face On explores ideas of shared space by inviting the viewer to experience a sublime state of intimacy as the figure connects ontologically to a sequence of changing situations. Imbedded within this state of intimacy, the figure comes face to face with the implications of performing and performance, of being observed and observing, of exposing the mechanisms and dealing with the consequences.

Tickets: £6 (£4 conc)

small dances / BIG IDEAS

Iona Kewney KNIGHTS of the INVISIBLE Knights of the Invisible is a journey into the strangeness of movement (and sound) that ﬁnds its own way to speak. This latest of Iona Kewney’s extraordinary performances hurtles between dance, madness and performance art; the mentality of taking things beyond the limits of exertion, testing human will and physical endurance, bordering on the compulsions of hysteria. Movement is drawn from the imagination, from a near obsessive compulsive state driven by the desire to make the Invisible Visible. Music is by Joseph Quimby (Remember Remember, Take a Worm for a Walk Week, Loss Leader, Globewax) “The immediacy of Kewney’s movement, the impossible contortions and moments of livid ecstasy are the fulﬁlment of contemporary dance’s promise to escape ballet’s restraint and to forge new art from the potential of the body and the depth of imagination. Kewney asks the big questions: how free can we be? What is choreography? Why has dance become so polite, and couldn’t we do with more work that crosses psychedelic distortion and physical presence? While it is possible simply to marvel at her prowess, the moments of elegance that slip between her feats are shining drops of revelatory grace.” Gareth Vile, The Skinny

Knights of the Invisible, pencil drawing by Iona Kewney

“Iona Kewney is a rare imp, a treasure!” Mary Brennan, The Herald Iona Kewney originally trained in ﬁne art and became a painter. She went on to attend the School for New Dance Development in Amsterdam and train at Cirkuspiloterna School in Sweden. She has been performing solos for 15 years, developing an idiosyncratic style that mixes dance, live music, texts, drawings and physical movement. Throughout this time she has also worked with major European Dance Companies including Alain Platel (of Les ballets C de La B) and Wim Vandekeybus (of Ultima Vez), Peter Verhelst, Martin Butler, Vincent Dance Theatre and Mark Bruce Company. Commissioned by New Moves International for New Territories, with the support of Dance Base through funds made available by the British Dance Edition Research Project Grant in 2010. Iona has been supported by Scottish Arts Council, Dance Base, Edinburgh, Tramway, Glasgow, Dance House Lab-Glasgow.

small dances / BIG IDEAS Iona Kewney / Jack Webb double bill

Jack Webb

Venue: CCA 5, Glasgow Date: Wednesday 2 March Time: 1930

The Bravest Thing You Can Do Is Be Still

Tickets: £10 (£6 conc)

“The Bravest Thing You Can Do Is Be Still is repetition, repetition to break down, irrational thinking, border line and border lines, the border between you, the border between me and the border between a madness and a reality. The Bravest Thing You Can Do Is Be Still is the line that I do not wish you to cross.”

SPORESfacedownPILLOWupnotbreathingDROWNDEDOUT andclawedtheseEMBRACESFINGERNAILSshortdon’ttouchmeTrailsoftraces SNAILSCRATCHESskinitchingshadowsTHEUNSEENdarkskulkingUPSWELLING insidiouslaughterandDEATHBREATH.breathingHORIZONTALFLATINHALING antimonoxideOXIDEglassslidingdailydissectionERECTIONSCREAMscrubbingascleanas ArmsopenFLESHDRIPINGeyesrollingwalkingcatalogueoffour-wheel-driveoff-road deathdeliverystillhotFRESHFROMTHEWOMBthisdeathAllIammyswellingsporesmyﬂuids meltingICANTKEEPMYSHAPEI’mdribblingdrippingIcan’tkeeptrackCONSTANTLY MOPPINGMYDEATHMESSalwayscheckingmydistanceYOUJUSTDON’TFUCKINGGETITIt. Idid.Understandmyforgivenestdon’ttouchmeinfactCURLINGCLOSEDFEETtwitching hidingbehindfacesemotionallackofconsequenceMYHUMANITYdiesasphyxiated inaSEAOFSICKNESSTAKEADIPINMYPLEASURELEISUREBODYFLUIDSiknowi. Text by Aedin Walsh Born in Scotland, dancer and choreographer Jack Webb trained at the Scottish School of Contemporary Dance and has performed with Smallpetitklein Dance Company, Grange Park Opera, Ben Wright, Charles Linehan, Ian Spink, Angus Balbernie, the Curve Foundation Dance Company, Jose Vidal Company and Dance Theatre Luxembourg. His own work has been presented at festivals including: Resolution at the Place, (London), Edinburgh Festival Fringe at Dance Base 2007, ‘09 and ’10, Dance Live (Aberdeen), Scratch Moves at the Arches (Glasgow) and All 1 Forum (Hamburg, Germany). Commissions include work for Third Row Dance Company.

The Resurrection, pencil drawing by Iona Kewney

“Megaphone madness, chaos and a reckless body trying to burst out of its self, rivalled by a strict and unforgiving series of repetitions, all feature in a work that locks me up in my box and sits me down in my chair to make sure that lines are not crossed and no skins are touched, because that’s when it starts to get a little dark in here....” Jack Webb

The work was partially created during a New Territories Winter School with Peter Boneham; Jack’s attendance was supported by the Scottish Arts Council. All Photos by Chris Kidd

Venue: The Arches

Into The New The Athena Programme

Dates: Wednesday 16 March - Friday 18 March Time: 1800 Tickets: £9 (£6 conc)

Symposium: Performance Recall – Remembering Past Lives Venue: The Arches

Stephanie Elaine Black, photo by Kenny Dundas

Into the New showcases the work of the students and graduates of the Royal Scottish Academy of Music and Drama’s Contemporary Performance Practice programme. This four day event comprises performances, workshops, discussions and talks from a broad community of performance makers. It is an opportunity to be invigorated, inspired and to promote growth in the ﬁeld of new work in Scotland and beyond. Leading to an alternative symposium on Saturday, Into the New aims to be a practice-based encounter that facilitates conversation, sharing and the opportunity to consider how we might engage with the ephemeral histories of live performance.

Alternative Symposium: Performance Recall To celebrate the 60th birthday of RSAMD’s School of Drama the BA Contemporary Performance Practice programme has requested a Performance Recall. 60 artists associated with the programme since its inception have been recalled to retrace, remember, revisit, recreate or re-enact a seminal performance from their past. Each artist will perform their work on the 19 March 2010. Performance Recall asks how a performance created for a specific time and place can find fresh life in new (or old) bodies and for new audiences. Featured artists: Kirsty Byers, Rosana Cade, Rachel Cole, Edward Crawley, Leo Glaister, Thomas Hobbins, Viviane Hullin, Josephine Hutton, Ellen Ling, Samuel Phillips, Theodore Stevens, Ross Wight, Johnny McKnight, Stephanie Elaine Black and Sarah Hopfinger. Plus for Performance Recall 60 very special, surprise guests from the last 12 years of the CPP programme. Further details at www.intothenew.co.uk

Date: Saturday 19 March Time: 1400 Tickets: £5 (£2.50 conc)

The Athena Programme The work of Stephanie Elaine Black is supported by The Athena Programme, New Moves International’s mentorship scheme for young graduating artists from the BA Contemporary Performance Practice programme. The first year after graduating can be challenging and NMI partners two CPP graduate artists with mentors most suited to their practice. Artist Rajni Shah has worked with Stephanie over the last year in the lead up to Into The New. “I find the CPP Programme to be of national and international significance and excellence. I cannot think of a comparable learning situation across the UK where a student will fully develop in so many areas creatively, socially, collectively and intellectually” Richard Layzell

Live art, an artistic discipline that ‘defies all definition’, is experiencing a remarkable renewal, it is, however, still little known to the world at large. To bridge this gap and strengthen the position of new forms of live art in Europe, eight cultural structures have come together as partners in a five-year European project entitled ‘A space for live art.’ Through each partner’s programming and the different forms of exchange — co-productions, dissemination, residences, international symposia — the diversity of the artistic approaches will be highlighted. Meetings on theory and practice, the constitution of a critical corpus written by professionals and documentation of projects in sound and/or images will strengthen the reflexive and documentary aspect of live art. There will also be room for mediation and transmission, through an infiltration of the public area and a teaching strand, in particular in art schools where young talent will be encouraged. Acción!08MAD

Madrid, Spain,

www.accionmad.org

ANTIFESTIVAL

Kuopio, Finland,

www.antifestival.com

City of Women

Ljubljana, Slovenia,

www.cityofwomen.org

Interakcje -

Piotrkow Trybunalski, Poland,

www.galeriaoff.pl

Les Subsistances Lyon, France,

www.les-subs.com

new territories

Glasgow, UK,

www.newmoves.co.uk

PANORAMA

Hamburg, Germany,

www.kampnagel.de

TROUBLE

Brussels, Belgium,

www.halles.be

With the support of the Cultural Programme 2007-2013 of the European Commission.

National Review of Live Art

30th Anniversary Boxed Set Last year’s New Territories featured the very last National Review of Live Art – which, for much of its 30-year history, had been the only major gathering of the UK’s live art scene. To mark this milestone, a limited edition Box Set catalogue was produced, with contributions from 70 artists, producers and academics, each offer their own perspective on the history of what proved to be the longest-running Live Art festival in the world.

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3 specially produced DVDs, each capturing a decade of work shown at the NRLA,

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comprehensive interviews with Artistic Director, Nikki Milican,

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specially commissioned essays by signiﬁcant international artists and producers,

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a published “archive” of all the artists, works and events that have been presented at the NRLA

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colour and black and white images throughout

very limited supplies left at £45.00 – download order form from http://www.newmoves.co.uk/national-review-oflive-art

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25 Albert Drive Glasgow G41 2PE Box ofﬁce / information: 0845 330 3501 Booking hours: Mon-Sat 1000-2000, Sun 12noon-1800 www.tramway.org

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Peacock Visual Arts

253 Argyle Street Glasgow G2 8DL Box ofﬁce / information: 0141 565 1000 booking hours: Mon-Sat 0900-2000, Sun 12noon-1800 www.thearches.co.uk CCA 350 Sauchiehall Street Glasgow G2 3JD Box ofﬁce / information: 0141 352 4900 booking hours: Tue-Fri 0900-1900, Sat 1000-1900 www.cca-glasgow.com

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CPP

BA Contemporary Performance Practice

For further details contact Robert Walton on 0141 270 8251 or email r.walton@rsamd.ac.uk We are delighted that the annual graduate festival â&#x20AC;&#x2DC;Into The Newâ&#x20AC;&#x2122; is part of New Territories once again this year.

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This page: Eva Fuhrer, photo by Martin Rindlisbacher

Back page: Stéphane Gladyszewski, performace: Corps Noir, peformer: Justine Ricard, photo by Stéphane Gladyszewski

International Festival of Live Art, Scotland produced by New Moves International Artistic Director - Dr. Nikki Milican, MA, OBE Company Manager - Colin Richardson-Webb Festival Assistant - Meryl Gilbert Press and Communications - Christopher Lord (karpus projects) Design (website and print) - Gatti Creative Design Ltd. Production Manager - Will Potts New Moves International is funded by Creative Scotland, Glasgow City Council and the EU Culture Programme 2007-2013

Additional support has been gratefully received from

A big thank you to our supporters and partners: The NMI Board of Directors; The Department of Contemporary Performance Practice, The Royal Scottish Academy of Music and Drama; Morag Deyes and all the staff at Dance Base; Mark Anderson and all the staff at The Arches; Francis Mckee and all the staff at CCA; Susan Triesman and all the staff at Ramshorn; SWG3; Tramway; The Apple Store, Glasgow; Richard Strange; The Merchant City Festival; Jennifer Phillips and Citymoves, Aberdeen City Council; Lindsay Gordon and Angela Lennon, Peacock Visual Arts, Aberdeen; Artur Tajber; Cameron Communications; Helge Meyer; The Sikorski Polish Club; National Endowment for the Arts and Andrew W. Mellon Foundation

Contact Details: New Moves International PO BOx 16870, Glagsow G11 9DS Telephone: + 44 (0)141 357 5538 Web: www.newmoves.co.uk