Marthe Ramm Fortun - Didier Morelli - Christian Jankowski - David Zerbib
Free admission, ticket required
Tickets available starting Friday, November 8 online (macm.org/en/buy-tickets/) and at the MAC ticket counter
6:00 pm
CIEL/SJEL
Marthe Ramm Fortun
Marthe Ramm Forun’s performances are conducted through texts read aloud, in situ, and via ephemeral sculptural boundaries. There is always a multiplicity of languages at play in her work—the linguistic and the poetic, the sculptural and the corporeal. CIEL/SJEL is a performance inspired by the poetics and survival strategies of Dadaism’s primary female figures. This performance seeks to question how a biased contemporary narrative can be approached, without perpetuating the implicitness and silence that surrounds the notion of women’s absence, through a cycle of discouragement and (re)discovery.
Marthe Ramm Fortun (born in 1978, in Oslo) lives and works in Oslo, and is currently the Acting Dean of the Oslo National Academy of the Arts. She is a graduate of New York University and of the Higher Institute for Fine Arts, in Ghent, and has presented her work in numerous institutions.
With the generous support of the Office for Contemporary Art Norway
7:00 pm
Strike Zone – Zone des prises
Didier Morelli
On July 20, 1969, as the Expos lost to the New York Mets, Neil Armstrong’s booted foot stepped onto the rocky, crater-pocketed surface of the Moon. An acoustic continuum and sensory field links Montréal’s beloved Major League Baseball franchise and Apollo 11’s landing gear. Strike Zone – Zone des prises playfully collapses baseball’s codes, instruments, and structures to explore the potential of the national pastime to become kinesthetically enmeshed with Québec’s cultural ebbs and flows. The sound of poured concrete weathered by ice; the cheers of a rowdy crowd; the imprint of a boot, in snow or space dust; the metallic clank of landing gear; the white noise of a television set; the scratch of the ground on the soles.
Didier Morelli’s performances include endurance-based durational actions, contextually specific relational interactions, as well as kinesthetically driven rambles using everyday objects. His work critically expands and collapses historical events and archives into dynamic environments. A PhD candidate in Performance Studies at Northwestern University, Chicago, his dissertation entitled “Form Follows Action: Performance In and Against the City, New York and Los Angeles (1970-1985)” is a theoretical history of performance art.
7:30 pm
Workshop
Chantal Pontbriand
Prelude 1: “Hi, Huh, Hyper-media-ocrity, You don’t need to, Emerge from nothing, You don’t need to, Tear away.”
Christian Jankowski
Performance: I am counting on you, my dear!
Jankowski will comment on a series of points starting with:
1. Performance is the most frameless form of art.
2. Performance may reflect the challenges of society because it can encounter them live and on site (here and now).
3. It can play a role the geopolitical audience is able to read.
(…)
and ending with:
7. Performance is many times the most direct form for an artist to start a dialogue with the world. It helps the artist to position him/herself and maybe move to different practices afterwards.
Christian Jankowski (Berlin) works in conceptual and performance art in a collaborative, investigative and critical mode with a focus on film, video and photography, as well as on other media. Jankowski's works are included in many public and private collections internationally. Since 2005, he is Professor at the State Academy of Fine Arts in Stuttgart.
David Zerbib
Événement performantiel et condition performative. La performance immergée dans le régime de la performativité
If there is one question that emerges about contemporary performance, it is certainly its paradoxical immersion into a system of generalized performativity that defines not only the field of art as a whole, but also the common operation of culture and information, a fortiori through its digital existence. The disruptive functioning performance had once introduced into an art world regulated by the principles of representation thus loses much of its effectiveness. What will become of the active principle of performance that has dissolved into a performative condition that defines the standard dominant symbolic, technical and material order?
David Zerbib (Paris) is a lecturer in Philosophy of Art at HEAD – Genève (Haute école d’art et de design). His research in the field of aesthetics focuses on issues of performance and performativity in contemporary art, and proposes strategies for the extension of the analysis of forms in artistic practice through the concept of “format.”
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