Author: FD 13

FD13 residency for the arts presents:
Artist talk with Adriana Lara moderated by Sandra Teitge “Club of Interesting Theories”
Monday, 22 May 2017, 6 pm

Cleopatra’s 
110 Meserole Ave
Brooklyn, New York 11222

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The “Club of Interesting Theories” is an ongoing series created and led by Adriana Lara consisting of graphics applied on different objects. The series’ title functions as the label to refer to ‘interesting theories’ as immaterial products. What becomes ‘interesting’ according to today is in constant change. Either religious, political, philosophical or scientific, theories considered interesting are the ones that keep the world changing. Theories navigate through the present without necessarily being noticed, their transcendence is only evidenced through their surroundings. Once the theory becomes objectified through this work, one as a viewer may become aware of this absence of information.

Each work features a different graphic motif generated by a system of intersected shapes . This system was conceived as a generative one, which offers on the one hand a hypothetical view of how theories are elaborated, on the other, these graphics work as symbols for potential meaning. 

In Washington D.C. taking the larger context of the interdependent and complimentary Mexico-US relationship as a point of departure, Lara presented a series of graphics from her system in dialogue with a sequence of readings of texts by Mexican writers, academics, students, and artists, who research U.S-Mexican relations in the fields of economics, geography, demographics, natural resources, culture, history, national security, etc. The texts have either been written for this occasion or are excerpts of existing academic papers, pieces of journalism and philosophy.

The Club opens the opportunity to present and discuss relevant theoretical works, as well as the Mexico-US relationship in general, alongside an artistic counterpart that attempts to integrate thought into the reading of an artwork. The work of the participating authors are published in a booklet together with the artist’s abstract graphics, which are assigned to each of these theories.

As a part of the project, Lara presented a series of 7 oil paintings titled “Interesting Theories“ which are numbered in correspondence to the written theories.

In parallel to the exhibition, a reading performance took place in the Music Room of the Mexican Cultural Institute and illustrated how the theories merge and overlap with each other whilst creating new shapes. The audience ws invited to listen to excerpts of the theories and reflect upon the corresponding forms created from this generative system.

https://vimeo.com/218500076

Adriana Lara “Club of Interesting Theories” at the Mexican Cultural Institute in Washington D.C.

in collaboration with FD13/Sandra Teitge

The “Club of Interesting Theories” is the upshot result of a long term project. Lara has been working with a graphic generative system, which she proposes as a potential visualization of the processes of theory-making and thought-production more generally.

Taking the larger context of the interdependent and complimentary Mexico-US relationship as a point of departure, Lara presented a series of graphics from her system in dialogue with a sequence of readings of texts by Mexican writers, academics, students, and artists, who research U.S-Mexican relations in the fields of economics, geography, demographics, natural resources, culture, history, national security, etc. The texts have either been written for this occasion or are excerpts of existing academic papers, pieces of journalism and philosophy.

The Club opened the opportunity to present and discuss relevant theoretical works, as well as the Mexico-US relationship in general, alongside an artistic counterpart that attempts to integrate thought into the reading of an artwork. The work of the participating authors were published in a booklet together with the artist’s abstract graphics, which are assigned to each of these theories.

As a part of the project, Lara presented a series of 7 oil paintings titled “Interesting Theories“ which are numbered in correspondence to the written theories.

In parallel to the exhibition, a reading performance took place in the Music Room of the Mexican Cultural Institute and illustrated how the theories merge and overlap with each other whilst creating new shapes. The audience was invited to listen to excerpts of the theories and reflect upon the corresponding forms created from this generative system.

CLUB DE LAS TEORÍAS INTERESANTES

Manuel de Landa, Deleuze, Diagrams and the Genesis of Form #40
David Lara Catalán, La Astucia Del Imaginario Social #41
Pedro Jiménez, Liberal Theory, Plurality and the Zapatista Experience #42
Héctor Guillén Romo, México: de la sustitución de importaciones al nuevo modelo económico neoliberal #43
Fidel Aroche/Marco Antonio Marquez, An Economic Network in North America #44
Lilia Domínguez/Laura Vázquez, Skilled migration to the US (work in progress) #45
Pablo Kalmanovitz, Strategic unpredictability #48
Gustavo Mauricio Bastien Olvera, La seguridad nacional de México ante el crimen organizado y sus efectos sobre el desarrollo humano: el caso del tráfico ilícito de armas de fuego #49
Paola Virgina Suárez Dávila, Post-Punk In Concert: The Digital Art Circuit #47
Sabine Pfleger/Joselin Barja, Resignifying the Northern Border #46
Ariadna Estévez, The (Necro)Policies Of Spatial Injustice In The US-Mexico Border: Disposability Pockets And Forced Depopulation #50
Sandra Alarcón, Piratas en la Aldea Global #53
Camelia Tigau, Medical Migration: The Case For A Knowledge Circulation Theory #51
Amaia Orozco, Global Care Chains/Cadenas globales de cuidados #52
Fernando Gómez Candela, La Derrota #54

FD13 residency for the arts presents:
Artist talk with Adriana Lara moderated by Sandra Teitge 
Monday, 22 May 2017, 6 pm

Cleopatra’s 
110 Meserole Ave
Brooklyn, New York 11222

—

Adriana Lara examines the instability of meaning, the structures and patterns, in which content and form merge, reflect on each other, and dissolve. Through this line of exploration Lara’s practice takes on many different formats and shapes as she experiments with different contexts with an open-ended, non-academic approach. Under the collective Perros Negros, she continues to curate exhibitions; she also has been editing the fanzine Pazmaker since 2006.

Lara’s work has been shown at Nassauischer Kunstverein Wiesbaden (2017), Kunstverein Braunschweig (2016), Air de Paris (2016), 21er Haus-Belvedere/Vienna (2014), Kunsthalle Basel (2012), Utah Museum of Fine Arts/Salt Lake City (2010) amongst many others. Her work has been featured in numerous group exhibitions at the Sculpture Center New York (2016), Kunsthalle DenFrie/Copenhagen (2015), the Marrakech Biennale 5 (2014), dOCUMENTA (13) (2012), CCA Wattis Institute for Contemporary Arts/San Francisco (2012), the New Museum/New York (2009), and the Jumex Collection in Mexico City (2008).

This New York City artist talk follows a residency that Lara conducted in Washington D.C. at the Mexican Cultural Institute (May 14-20), where she presented her ongoing project Club of Interesting Theories, a proposal for the potential visualization of the processes of theory-making and thought-production, this time with a focus on Mexican-U.S. American relations. An accompanying publication includes the theories paired with the artist’s abstract graphics that materialize the theories into abstract shapes. At the public event in D.C., a series of projected graphics from Lara’s visual system were in dialogue with readings of a few selected interesting theories along with a site-specific installation that unfolded as the evening advanced.

With the support of the Mexican Cultural Institute of Washington D.C. and New York, the Embassy of Mexico in the United States, and the Mexican Agency for International Development Cooperation.

FD13 residency for the arts presents:
Adriana Lara. The Club of Interesting Theories.

Thursday, 18 May 2017, 6.45 pm

Mexican Cultural Institute of Washington D.C. 
2829 16th St NW
20009 Washington, D.C.
USA 

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FD13 residency for the arts will collaborate with the Mexican Cultural Institute of Washington D.C. and various venues in New York City from May through October 2017.

For its D.C. debut, FD13 and the Mexican Cultural Institute of Washington D.C. invites Adriana Lara to develop and present her ongoing project Club of Interesting Theories, a proposal for the potential visualization of the processes of theory-making and thought-production, this time with a focus on Mexican-U.S. American relations. An accompanying publication will include the theories paired with the artist’s abstract graphics that materialize the theories into abstract shapes. At the public event, a series of projected graphics from Lara’s visual system will be in dialogue with readings of a few selected interesting theories along with a site-specific installation that will unfold as the evening advances.

Adriana Lara examines the instability of meaning, the structures and patterns, in which content and form merge, reflect on each other, and dissolve. Through this line of exploration Lara’s practice takes on many different formats and shapes as she experiments with different contexts with an open-ended, non-academic approach. Under the collective Perros Negros, she continues to curate exhibitions; she also been editing the fanzine Pazmaker since 2006.

Lara’s work has been shown at Kunstverein Braunschweig (2016), Air de Paris (2016),  21er Haus-Belvedere/Vienna (2014), Kunsthalle Basel (2012), Utah Museum of Fine Arts/Salt Lake City (2010) amongst many others. Her work has been featured in numerous group exhibitions at the Sculpture Center New York (2016),  Kunsthalle DenFrie/Copenhagen (2015), the Marrakech Biennale 5 (2014),  dOCUMENTA (13) (2012),  CCA Wattis Institute for Contemporary Arts/San Francisco (2012), the New Museum/New York (2009), and the Jumex Collection in Mexico City (2008), and most recently at the Sculpture Center NYC (2016) and Nassauischer Kunstverein Wiesbaden (2017).

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In times of political uncertainty FD13 suspends and expands its mission to promote an international network of artistic exchange in Minneapolis/St. Paul and, instead, will operate from the heart of the U.S. government with three invited Mexican artists who will develop context-specific projects for and in collaboration with the Mexican Cultural Institute of Washington D.C.
Following Adriana Lara, Chantal Peñalosa (September 2017) and Lorena Mal (October 2017) will develop and present work in Washington D.C. and in New York City.

A special thank you to Gustavo Morales and Alberto Fierro Garza.

With the support of the Mexican Cultural Institute of Washington D.C., the Embassy of Mexico in the United States, and the Mexican Agency for International Development Cooperation.

FD13 residency for the arts will be based at the Mexican Cultural Institute in Washington D.C. from May through December 2017.

In times of political uncertainty we suspend our mission to promote an international network of artistic exchange in Minnesota and, instead, will operate from the heart of the U.S. government with three invited Mexican artists who will develop context-specific projects for the Mexican Cultural Institute.

May 2017: Adriana Lara
September 2017: Chantal Peñalosa

Adriana Lara examines the instability of meaning and analyzes how structures, styles, content, and form merge, reflect on each other, and dissolve. She reflects with humor and precision on classification systems and power structures and translates them into formal abstract sign systems. Lara’s practice takes on many different formats and shapes as she experiments with continuous surfaces in fluid, playful ways. She made music under the name Lasser Moderna with Emilio Acevedo, continues to curate exhibitions under the collective Perros Negros, and has been editing the fanzine PAZMAKER since 2006.

Lara has exhibited her work at the Nassauischer Kunstverein Wiesbaden (2017), Kunstverein Braunschweig (2016), Air de Paris (2016),  21er Haus-Belvedere/Vienna (2014), Kunsthalle Basel (2012), Utah Museum of Fine Arts/Salt Lake City (2010) amongst many others. Her work has been featured in numerous group exhibitions at the Sculpture Center New York (2016),  Kunsthalle DenFrie/Copenhagen (2015), the Marrakech Biennale 5 (2014),  dOCUMENTA (13) (2012),  CCA Wattis Institute for Contemporary Arts/San Francisco (2012), the New Museum/New York (2009), and the Jumex Collection in Mexico City (2008).

Chantal Peñalosa studied Fine Arts at the Universidad Autónoma de Baja California and the University of São Paulo.
Peñalosa’s research-based practice is inspired by small gestures and interventions in everyday life, which are meant to expound upon notions of labor, waiting and delay. Repetition is a crucial element in her process, functioning as an allusion to the absurdity, weathering, and alienating effects of work. For Peñalosa repeating actions evoke latent states in which dialogue appears unilateral and time suspended.
She was awarded the Acquisition Prize in the XIV edition of the Biennale of the Northwest and was awarded FONCA fellowships in the Young Artists category (2013-2014) and (2015-2016). In 2014 she participated in the 4th edition of the Bancomer Program for young artists at the Museo de Arte Carrillo Gil in Mexico City. Most recently, her work has been shown at Casa del Lago in Mexico City and at AIR Antwerpen.

 

FD13 presents: Moriah Evans. Be my Muse. Yeah Maybe.

(in collaboration with Kampnagel Hamburg / in parallel to Common Time at the Walker Art Center)

Wed, 8 February & Thurs, 9 February 2017, 11am – 5pm
Friday, 10 February 2017, 11am – 3pm

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“Right now, I’m focusing on organ donation. I’m fascinated by it but I’m not focusing on the medical and legal complicated ethics surrounding organ donation. I think it’s more of a tool in terms of thinking about an ecosystem of relationships between people, and boundaries between private and public, intimate space and public space, creating performance structures that enable a simultaneous display of a private gaze and a public gaze, private and public self and how these things move. They are never in a simple space; they are like labels. The organ donation is a good tool for the kind of proximity that people have to my body, to how they may or may not look at my body, to the movements I do, some of which are more aesthetically pleasing, appealing and easy and gratifying to watch, others, which are coded in a more abject way, a more difficult or disobedient body. I feel like it’s a topic that gets people to locate their own flesh in a conversation, jumps in to big questions, philosophical questions between material and immaterial issues of body versus spirit or: “Is a personality contained in the flesh?” or “Who owns our body? Who regulates them and what part makes this or that?” and so on. The questions surrounding organ donations, how is it regulated by society and how could we have a casual conversation about it, not as experts or people who have not experienced an organ donation, are interesting to me.” (Excerpt from an interview with Sandra Teitge)

 

FD13 presents: Moriah Evans. Be my Muse.

(in collaboration with Kampnagel Hamburg / in parallel to Common Time at the Walker Art Center)

Wed, 8 February & Thurs, 9 February 2017, 11am – 5pm
Friday, 10 February 2017, 11am – 3pm

(1-hour slots / sign up here: info@fd13residency.org)

Yeah Maybe
2528 E 22nd St
Minneapolis, MN 55406

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In Be my Muse, Evans will occupy various rooms at Yeah Maybe with a cycle of 49-minute performances commencing at the start of each hour. Evans will expose her process to a series of interventions and opinions from the public to produce an open choreographic system modulated through time and intimate yet momentary exchanges. The construction of a solo performance is examined whilst expressions of power, control, dominance, submission and the authority of the author are in a perpetual state of redefinition.

Hourly, from 11 am to 5 pm.

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Moriah Evans is a choreographer based in New York. Her compositions are processed not by form but by a procedure, insisting on the value of bodies in motion and relation. Her choreographic work has been presented by The Kitchen, MoMA/PS1, Danspace Project, Issue Project Room, Judson Church, AUNTS, American Realness, BAX, New York Live Arts, The New Museum, The Chocolate Factory, Dixon Place, CalIT2, and internationally at Kampnagel, Theatre de l’Usine, and CDC Atelier de Paris. In 2015, she received a Bessie award nomination for Emerging Choreographer. She is a graduate with honors of Wellesley College with a B.A. in Art History and English Literature and did her PhD studies in the Visual Arts Department at the University of California, San Diego. She is the Editor-in-Chief of the Movement Research Performance Journal and has been involved with the publication since 2009. During her 2011-2013 residency at Movement Research, she initiated The Bureau for the Future of Choreography–a collective apparatus involved in research processes and practices to investigate participatory images of performance and systems of choreography. In her recent diptych, Social Dance 1-8: Index and Social Dance 9-12: Encounter, Evans considers how we dance together and engage social relationships through the choreographic pathways of dancing and witnessing within the performative event–interrogating dance history as well as the exhibitionism inherent to performance.

FD13 residency for the arts presents: 
“Yugoslavia, How Ideology Moved Our Collective Body” – a film directed by Marta Popivoda
6pm – 7pm, Weitz Cinema, Carleton College (following the conversation with Bojana Cvejić)

Carleton College
One North College Street
Northfield, MN 55057

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YUGOSLAVIA, HOW IDEOLOGY MOVED OUR COLLECTIVE BODY

Serbia ::: France ::: Germany
62 min ::: 2013

“This research-based essay film is a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states. Experience of the dissolution of the state, and today’s “wild” capitalist reestablishment of the class system in Serbia are my reasons for going back through the media images and tracing the way one social system changed by performing itself in public space.” (Marta Popivoda)

The film deals with the question of how ideology performed itself in public space through mass performances. The author collected and analyzed film and video footage from the period of Yugoslavia (1945 – 2000), focusing on state performances (youth work actions, May Day parades, celebrations of the Youth Day, etc.) as well as counter-demonstrations (’68, student and civic demonstrations in the ‘90s, 5th October revolution, etc.). Going back through the images, the film traces how communist ideology was gradually exhausted through the changing relations between the people, ideology, and the state. The film ends at the doors of contemporary Serbian democracy and neoliberal capitalism, demanding that we reflect on why citizens so easily abandoned the ideas of socialist collectivism, brotherhood and unity, workers rights, and free education, replacing them, firstly, with nationalism and war, and then with a promise of freedom and democracy which instead turned out to be individualism and “wild” capitalism. In dramaturgical terms, the film combines the theoretical concepts of social choreography and social drama, transposing them into film language. Through this directorial gesture, Popivoda explores a genesis from Richard Sennett’s thesis – when ideology becomes a belief, it has the power to activate the people and their social behavior – to the thesis of Renata Salecl – at some point people in Yugoslavia had only a belief in belief: they didn’t believe in communist ideology anymore, but believed others did.

N.B. The film is a part of the two-year-long research project Performance and the Public, carried out by Ana Vujanović, Bojana Cvejić, and Marta Popivoda of the Belgrade theoretical-artistic collective TkH [Walking Theory] at Les Laboratoires d’Aubervilliers in Paris. Apart from the film, the research resulted in the book Public Sphere by Performance by Bojana Cvejić and Ana Vujanović.

Directed by Marta Popivoda
Written by Ana Vujanović, Marta Popivoda
Edited by Nataša Damnjanović

Executive Producer Dragana Jovović
Sound design Jakov Munižaba
Colorist Maja Radošević
Producers Marta Popivoda, Alice Chauchat
Co-Producer Ann Carolin Renninger

Produced by
TkH [Walking Theory], Belgrade
Les Laboratoires d’Aubervilliers, Paris
Universität der Künste Berlin, Berlin
joon film, Berlin

Supported by
Program Archive of Television Belgrade
Périphérie – Centre de création cinématographique
Dart film

FD13 residency for the arts presents: Bojana Cvejić
In conversation with Sandra Teitge at Carleton College (Weitz Center for Creativity, Room 236)
Friday, 20 January 2017, 4.30 – 5.30pm

followed by the screening of
“Yugoslavia, How Ideology Moved Our Collective Body” – a film directed by Marta Popivoda
6pm – 7pm, Cinema, Carleton College

Carleton College
One North College Street
Northfield, MN 55057

Talk in Chicago at Sector 2337 (with the support of the Goethe Institut Chicago)
Monday, 23 January 2017, 7pm

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Bojana Cvejić (born in Belgrade/Serbia) is a performance theorist and performance maker based in Brussels. She is a co-founding member of TkH editorial collective (http://www.tkh-generator.net) with whom she has realized many projects and publications. Cvejić received her PhD in philosophy from the Centre for Research in Modern European Philosophy, London and MA and BA degrees in musicology and aesthetics from the Faculty of Music, University of the Arts, Belgrade.

Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, forthcoming), Drumming & Rain: A Choreographer’s Score, co-written with A.T.De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013) and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). She has been (co-)author, dramaturge or performer in many dance and theater performances since 1996, with a.o. Jan Ritsema, Xavier Le Roy, Eszter Salamon, Mette Ingvartsen, and Christine De Smedt.

Cvejić teaches at various dance and performance programs in Europe and has been recently appointed as Professor of Philosophy of Art for the doctoral studies at Faculty for Media and Communication, University Singidunum in Belgrade. Her current research focuses on social choreography, technologies and performances of the self, and time and rhythm in performance poetics and Post-Fordist modes of production.

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Cvejić’s FD13 residency (9–23 January 2017) is made possible through support from the Trust for Mutual Understanding (TMU).

Thank you to Cameron Gainer for hosting the residents.
Thank you to Judith Howard for making this conversation possible at Carleton College.
Thank you to our field coordinator Bruno Freeman for taking care of our artists.

Thank you for attending FD13 events and supporting our mission of bringing international artists to the Twin Cities and creating an exchange with Minneapolis/St. Paul-based artists and the local public.

We could not have done it without you and appreciate your enthusiasm.
If you still need and would like to make a tax-deductible donation this year, we certainly would appreciate it.
Donate here (via our website) or here (via Give.MN) or send a check to the address below.

Stay tuned for 2017. We are looking forward to seeing you at one of our FD13 events.

2016 residents and events included:

January 2016: Gela Patashuri, Ei Arakawa, and Sergei Tcherepnin. Metal Nabadi Workshop.
In conjunction with the artists’ exhibition at Midway Contemporary Art
(with support from the TMU/Trust for Mutual Understanding)

February 2016: Sara Ludy.
Live audiovisual performance at Public Functionary

March 2016: Ligia Lewis. Minor Matter for the Theater (work-in-progress)
An excerpt of the research for Minor Matter as a solo with dancer Jonathan Gonzalez at Public Functionary.
Also presented at White Flag Projects in Saint Louis/Missouri, as well as at HAU Hebbel am Ufer, Berlin, in November 2016, performed by three dancers.
(with support from the Goethe-Institut Chicago)

April 2016: Marit Neeb. A German Requiem for Windows.
In situ durational performance in the Target Atrium of the Minnesota Orchestra simultaneously to the concert A German Requiem.

September/October 2016: Dragana Bulut. 
Pass It On. A performance realized as an auction at Bryant Lake Bowl Theatre.
The Art of Happiness (Work In Progress). A life-coach session at The White Page.

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Upcoming residents include:

January 2017: Bojana Cvejić 
In conversation with Sandra Teitge at Carleton College (Weitz Center for Creativity, Room 236)
Friday, 20 January 2017, 4.30 – 5.30pm

Talk in Chicago at Sector 2337 (with the support of the Goethe Institut Chicago)
Monday, 23 January 2017, 7pm

February 2017: Moriah Evans
(in collaboration with Kampnagel Hamburg / in parallel to Common Time at the Walker Art Center)
Moriah Evans at Yeah Maybe
Wednesday & Thursday, 8 & 9 February 2017, 11am – 5pm

March 2017: Barbara Held in conversation with Adam Zahller

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Happy New Year to all of you. Have a marvellous start into 2017!

Sandra, Bruno, Jeremiah & the FD13 crew.