A.D.#1 Temporal Transplants
Across archival in(trans)formations
– Paula Caspão
I am a document.
Stop. Recapitulate. Nobody really knows what a document is capable of.
I come from a field of methodological exchange between experimental choreography and documentation practices.
Stop. Recapitulate. Try to re-member (the kind of September?).
I don’t get it. Sing. Transform.
I come from across a field. I have been crossing fields.
I cannot not feel the fields, as they cross.
Stop at the crossroads:
Archival places as dating agencies.
Paula Caspão (P/F)
Researcher, intermedia artist and dramaturge, works internationally in several venues and situations, mainly intertwining choreographic, discursive and performative practices with other fields of thought, and experimenting research formats that merge dissimilar knowledge and methodologies. To welcome these intersections and emphasize the specific poetics and life forms implicated in any circumstances of research and/or composition, she founded Cabinet of T-Fi – an exploratory field of miscegenation between artistic and theoretical practices (in which T-Fi stands for Theory-Fiction, echoing the Sci-Fi of Science Fiction, as well as the Cabinet de curiosités). With Bojana Bauer, Ivana Müller and Joachim Hamou she founded INSTITUT, a platform that explores apparatus of criticality across the performing arts, based in Paris. She holds a PhD in philosophy (epistemology and aesthetics) from the University of Paris-10, and is currently a postdoctoral research fellow in performance studies at the University of Lisbon, as well as an integrated researcher at the Institute of Contemporary History, New University of Lisbon. Since 2015/2016 the focus of her artistic and theoretical research delves into the ecologies, performances and poetics implied in the practices that constitute History, the Museum and the Archive, re-thinking curatorship and the institutions of preservation as socio-choreographic practices of reactivation and transformation, more than as modes of transmission. She is part of the collective baldio|Performance Studies, and the author of relations on paper (2013) and The Page As a Dancing Site (2014).
The Persistence of Performance: Genes, Transplants, and the Residual Present
– Timmy De Laet
In recent years, the vexed question of how live performance can be documented and archived has received ample attention, not the least due to the rise of artistic re-enactment and the tendency amongst contemporary artists to look back on the past of their art. This development has challenged the dominant belief that performance is ineluctably transient, giving way to alternative views that recognize its persistence. However, despite the growing acknowledgment of “the ways in which performance remains, but remains differently” – as Rebecca Schneider has phrased it (2011, 98) –, the actual meaning of this differential kind of remaining is notoriously hard to grasp.
But what if we would start to think about performance in terms of genes? Could it be that performance has a DNA that not only undergirds its appearance, but which also enables its perseverance? And how are we to untie this genetic structure from any determinism and rather envision it as a versatile framework that allows a given piece to be transmitted and transformed over time?
In this talk, Timmy De Laet will reflect on the multiple yet singular times of performance, in an attempt to get a grip, however temporarily, on its elusive coming-into-being and the possibility of its continued existence. Drawing on the work of Gilbert Simondon, Ugo Perone, and Adrian Johnston, he will look at the passing of time, in search for genes and transplants that might show how performance does not pass by, but is passed along, as it takes place in a present we might want to call residual.
Timmy De Laet is a postdoctoral researcher at the University of Antwerp and the Research Centre for Visual Poetics. He had an actor’s training at the Royal Conservatoire of Antwerp, graduated in Theatre Studies at the University of Antwerp, and studied Dance Theory at the Freie Universitat Berlin. He obtained his PhD in 2016, for his dissertation titled “Re-inventing the Past: Strategies of Re-enactment in European Contemporary Dance.” Timmy is currently working as a researcher on the project “The Didascalic Imagination” (funded by FWO’s Research Foundation Flanders), which examines director’s notebooks as genetic documents of creative processes in contemporary performing arts. His research interests include the reiterative nature of live performance in relation to archivization, documentation, and re-enactment. He was the 2011 recipient of the Routledge Prize for excellent research paper at the PSi#17 conference in Utrecht.
The presence of the absence
– João Fiadeiro
T. S. Eliot
In many of João Fiadeiro’s artistic creations operations where the circular time is perceived by the spectator through the unveiling of a process that never ceases to occur, always emerge: the retroactive writing of a past that only materializes itself after being confirmed by a future action. Revealing this mechanism, that usually goes unnoticed because we tend to organize events from a linear narrative perspective, has been Fiadeiro’s privileged place to explore in most of his works.
In this particular work – “What to do with what remains” Fiadeiro continues to explore time – as duration, as suspension, as interval – while focusing his attention to what remains, what was left behind, what was forgotten. The “remains” is what generates “emptiness”. And it is the proof of the absence of presence. Or, more precisely, it is the presence of an absence. It is in the “remains” that we find the evidence that provides the beginning for the impossible task of re-building the world, once and again. The remaining is also what lies between the body and “the presence of the other in the body”, a permanent flight towards things that are not yet, towards things that might be(come).
João Fiadeiro (PT) belongs to the generation of choreographers that emerged towards the end of the 1980s and, following the American post-modern movement as well as the French and Belgian Nouvelle Danse movements, gave rise to the Nova Dança Portuguesa [New Portuguese Dance]. A large part of his education and training was carried out between Lisbon, New York and Berlin. He then joined the Companhia de Dança de Lisboa [Lisbon Dance Company] (1986-88) and the Gulbenkian Ballet (1989-90). In 1990 he founded the RE.AL Company that supported the creation and diffusion of his own shows, regularly presented all over Europe, the US, Canada, Australia and South America, and also represented and coached emerging artists, as well as transdisciplinary artists during the LAB/Projectos em movimento [LAB/Moving Projects]. Between 1995 and 2003 he collaborated with Artistas Unidos, a Lisbon based Theater Company, where he was responsible for the movement of the actors. For this company he staged plays by Samuel Beckett, Sarah Kane and Jon Fosse. Between 2008 and 2014 he suspended his activity as a choreographer and author, turning his focus to projects where the process – as opposed to the product – becomes the central object. It was during this period that he co-directed with anthropologist Fernanda Eugenio, the center AND_Lab in Lisbon, a research laboratory around sustainable coexistence, working on the relation between ethics, aesthetics and politics. The Real Time Composition method, that was first designed to support the writing and the dramaturgical composition of his works, has in the meanwhile become a theoretical-practical tool and platform to understand and rethink decision, representation and cooperation, both in art and in life. This research develops in cooperation with many other disciplines, such as economy, neurobiology and complex systems sciences, and it has lead João Fiadeiro to coordinate workshops in Masters and PhDs in several national and international schools and universities. João Fiadeiro is currently attending a PhD degree in Contemporary Art at the University of Coimbra in Portugal.