13-14 maj. NPP-Nya Performativa Praktiker
QUIM BIGAS BASSART
Shaking the libidinous
Shaking the libidinous
QUIM BIGAS BASSART
Läs mer om Master Programmet New performative Practices här
QUIM BIGAS BASSART
APPRAISERS is a project and a practice that has being going on since 2011. This projects aims to reflect on the conditions, values and movements through different perspectives and attempts towards present and place. Since 2011, the project has been giving attention to different peripheries of the artistic work by varied modes of presenting.
For APPRAISERS/Re-PLACE, I’m zooming up into the narratives that I have being generating through the two years of the MA. By three different formats of presenting and delivering certain data, I aim to be able to put back into place or into relation certain words, certain movements, certain ideas that keep allowing the project APPRAISERS to be in its constant reformulation and transformation through the places that inhabits.
This format will consist of three different formats: a presentation, a map and a score. Some of these formats have had the support of Roger Adam and Raquel Tomàs, the mentoring of Jeanine Durning and Paz Rojo and the collaboration and presence of Søren Linding Urup and Paulina Chamorro. Special thanks to La Caldera/Barcelona for their contribution during the rehearsal period in May and to everyone that still resonates out of the constellation of this project.
In an imagined experiential dimension, there are these things hovering. The hovering things exist 3-dimensionally. They are the artistic practice. They change, move around, transform, disappear, reappear. There is no hierarchy, there are just different positions that hover, slowly rotate. The things hover inside themselves and they are floating around in a room, gliding past each other, or hovering next to. The things hovering are neither chaotic nor ever still. They are gatherings from chaos, they´ve been fished up from chaos, now they hang there, they hover as they wish to. Between these hovering things there are experiential connections that emerge and disentangle. The things might go back to chaos as well, there is no fence. That chaos is lovely, it is a casserole of differently cut up entities, things, bits and other stuff. It is not an individual´s chaos. It is not mine. It does not belong to any individual nor to human beings. It is just chaos as it is, all around and through. The hovering is gathered by me, but not only and it is not mine. I cannot control the hovering, it lives, it transforms.
Following the performance, there is a FIKA paus.
After the FIKA, the visitors who would like to, can join a short movement workshop exploring dancing through focusing on a specific mapping (as practiced by Ina and Roselle Gillam).
There is no need to stay for the workshop when coming to the first part and the FIKA; but to do the workshop you would have to be there from the beginning.
This is a presentation of an artistic practice as part of the master program New Performative Practices at DOCH/Uniarts.
Ina Dokmo often choreographs site-specific durational performances and also works as a dancer/performer. Ina curates and builds Bjällansås Studio – a space for practices on the Swedish west coast.
Practice presentation/choreography: Ina Dokmo
Collaborators/performing: Lena Kimming and Alice MacKenzie
Mentors/Supervisors: Roselle Gillam, Rebecca Hilton, Kerstin Schroth, Stina Nyberg
Host/collaborator: Alexandra Wingate
Performers: Ina Dokmo, Ingvild Isaksen, Alice MacKenzie
Photographer: Krister Hägglund
Roselle Gillam, Peers, Teachers, Weld, Family, Bjällansås Gård, Alexandra Wingate, Ställbergs Gruva, Ingvild Isaksen, David Relan, current collaborators and mentors as well as all previous collaborators, teachers, peers, colleagues. ——————
I used to do this thing when I was a child. I used to shut myself in my room for hours. There I was with all my toys but the only thing I did was hold a stick in my hand and shake it really fast. There was a strong connection between my mind, my hand and the object, and the object had to be just right: rigid plastic rods were the best ones. If there were no sticks available, I used my fingers which was a bit painful after a while. While I was doing this I didn’t touch my other toys much, but they played a significant part in the collage, just being there and giving me inspiration. If i did something with them, I usually built some kind of assemblage, placing them in different parts of the room. I also used to do it while having a walk in the forest, leaving myself a bit behind from my companions, picking up a young branch and shaking it secretly. Later I did it while I was listening to my favourite songs. My parents obviously thought there was something wrong with me and they even made me talk to a school shrink once. Nevertheless they couldn’t make me stop because I enjoyed it so much. To me this repetitive shaking practice was a pathway to my imagination. It was a trip! It was a gas! You can’t imagine the places I visited. I still do it, but not so visibly: often when I’m thinking or making notes on a work I tend to shake the pen in my hand a bit.
At some point I heard that my grandfather had a spinning practice in which he used to spin for a while every time he got up in the morning. Apparently everyone thought that it was ok, since it was part of a meditation. It didn’t change the fact that in their eyes my stick shaking was totally crazy.
Birthday #2 is influenced by these lonely moments with objects, repetition and music. It is part of a series where I revisit my body memories through dismantling and building, aligning them with the space and some carefully chosen objects. While the first part of the series explored a burst of chaos inside an extremely controlled set up, #2 focuses on repetition and rhythm through a chaotic and associative state.
Duration: approx 1h
Choreography and performance: Mikko Niemistö
Visuals and space: Anastasia Artemeva
Sounds: Mikko Niemistö and Johannes Vartola
Mentors: Rosalind Goldberg and Maija Hirvanen
SHAKING THE LIBIDINOUS
Shaking the libidinous reflects upon the conventional roles and dramaturgy of sex, and pursues an abstraction of libido through text editing and choreographic methods: re-occupying a sensuous and erotic field from a feminine point of view.
Collaborators: Kim Myhr and Ingrid Haakstad