Movement Research Performance Journal #54

Movement Research announces Issue 52/53 of its print publication, the Movement Research Performance Journal. For this issue, Sovereign Movements: Native Dance and Performance, guest editor, choreographer Rosy Simas invited writer, Ahimsa Timoteo Bodhrán, to work with her. Together they assembled contributors from Native and Indigenous communities to reflect upon their practices, the historical conditions out of which they operate as well as movement, performance, and choreography as a socio-political project. Just as it is important for physical institutions to acknowledge that they sit upon occupied land of Native and Indigenous people, so too must institutions of history, practice, and epistemology acknowledge their occupation of knowledge and memory.

Throughout this issue, dance and movement is posited as a powerful strategy against settler-colonial mindsets and as an effective tool against erasure of Native and Indigenous cultural traditions. These pages discuss the importance of Native sovereignty and analyze various histories of resistance to settler-colonialism. Artists in the issue propose alternative artistic models to probe the roles of art and artists in society towards a more expansive constellation that fundamentally critiques the Western reward system in culture as well as the often celebrated cult of authorship.

The Appendixes #1-4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that came out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d'Aubervilliers (2022-23), they came together as a small work group, shaping the work process, hosting presentation formats and making the publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during the residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments - on paper, between pages.

p 5-7 Almost on my way to you
p 8-10 Presque en route vers toi
Laía Argüelles Folch

p 12-13 Exercise in translation of Breve ensayo sobre la carta (Brief essay on the letter) by Laía Argüelles Folch
p 14-15 Exercice de traduction de Breve ensayo sobre la carta (Bref essai sur la lettre) de Laía Argüelles Folch
Quim Pujol, Paula Caspão, Simon Asencio, Pascal Poyet, Mette Edvardsen, Léa Poiré, Victoria Pérez Royo & Laía Argüelles Folch

p 16-17 Like a dinosaur upon awakening
p 18-19 Comme un dinosaure au réveil
Pascal Poyet

p 20-23 Is she a translator?
p 24-27 Est-elle traductrice?
Olivia Fairweather

p 28-29 New edition revised by my author
p 30-31 Nouvelle édition revue par mon auteur
Léa Poiré

p 32 Notes from a translation in progress
p 33 Notes d'une traduction en cours
Kate Briggs

p 34-37 Mothers & tongues
p 38-41 Langues (maternelles)
Mette Edvardsen

p 42-43 Collective reading of Finnegans Wake by James Joyce
p 44-45 Lecture collective de Finnegans Wake de James Joyce
Dora García and readers, et les lecteur·rices

p 46-49 Notes for a talk that did not happen
p 50-53 Notes pour une conférence qui n'a pas eu lieu
Olivia Fairweather

p 54-65 Meticulous comparison of two books with their versions rewritten from memory, excerpts from a work document
Comparaison méticuleuse de deux livres avec leurs versions réécrites de mémoire, extraits d'un document de travail
Julián Pacomio & Ángela Millano

Time has fallen asleep in the afternoon sunshine Appendix #3 Orality includes contributions by Simon Asencio, Bruno De Wachter, Peter Szendy, Clara Amaral, Itziar Okariz, Jude Joseph, Léa Poiré and Mette Edvardsen.

Time has The Appendixes #1–4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that developed out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d’Aubervilliers* (2022–23), they came together as a small work group, shaping the work process, hosting presentation formats and making this publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during their residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments – on paper, between pages.

The Appendixes are organized around four themes: (1) The gesture of writing, (2) How to organize a library, (3) Orality and (4) Translation. In addition to being published on paper, the editorial series also consisted of other formats of presentations, exchanges and meetings organized as workshops, fieldwork, performances, conferences, collective readings and oral publications, taking place during their residency at Les Laboratoires d’Aubervilliers and in the vicinity.

The Appendixes is the work that continues, material that adds on, some of it perhaps too long or too detailed, unfit or unfinished. The four themes that their research is formulated around originate in specific experiences and questions from the practices of Time has fallen asleep in the afternoon sunshine (2010 – ongoing), and also the large publication on the project ‘A book on reading, writing, memory and forgetting in a library of living books’ (2019). The research was both a means of exploring these themes in greater depth and also of bringing them into contact with other artists and researchers working on similar or related subjects. The Appendixes offered them both the contexts and the pretexts for things to happen (in time, in space, on paper).

The Appendixes #1–4, published in these cahiers, do not present an overview or a summary of all of the activities and presentations that took place during the two years at Les Laboratoires d’Aubervilliers. What these cahiers offer is a space in which to hold some thoughts together and to share them in this form. It is one more step along the way, extending the research and work already begun and that will now continue.

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought.

In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents - an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze -formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.

Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.

Avec les poèmes et traductions de: Warsan Shire, Sika Fakambi, Anne-Claire Hello, Aurore Dal Mas, Connie Scozzaro, Chloe Chignell, Camille Fresnois, Simon Asencio, Marie De Quatrebarbes.

Aves les images de Aurore Dal Mas.

Édition: Thomas Le Goff, Emmanuel Régniez, Tomas Sidoli.

Les éditions du quelconque se divisent en deux projets, une maison d'édition (à venir) et une revue, Un Rectangle Quelconque. Cette dernière, chaque semestre, propose de découvrir des auteurs de poésie venant de tous horizons géographiques et esthétiques. La maison d'édition, elle, sera l'occasion de présenter aux lecteurs francophones des nouvelles voix de la poésie actuelle.

Hardscapes / Here documents and brings together two exhibition projects by artists Nina Canell and Maria Hassabi. Produced on the occasion of the exhibitions of the same name curated by Samuele Piazza at the OGR Torino, the publication consists of two graphically specular books that merge into a single volume. Essays, unpublished materials and a rich set of photographic materials form the driving force behind two visual narratives that offer new keys to understanding the research of the two artists.

Hassabi's live installation Here calls on visitors to share space and spend time with six performers portrayed in a decelerated rhythmic choreography within a sculptural environment. In constant motion, the dancers contribute to a situation of shifting presence, demonstrating the contestable nature of the "here and now." Immobility and slowing down are thus used both as techniques and as subjects of representation: the performing bodies oscillate between dance and sculpture, subject and object, living body and static image.

Canell's Hardscapes combines two works that focus on the concepts of circulation and transformation as well as on unexpected forms of coexistence. Energy Budget (2017–18), a video that alternates between two subjects: a basement in which a leopard snail crawls over an electrical panel, and the gradual shifting of the frame away from "dragon gates"—portal-like openings in huge buildings on the Hong Kong waterfront. Muscle Memory (16 Tonnes) (2020–21) is a floor sculpture, decomposed and transformed by the density of moving bodies, which literally crumbles under the soles of passing visitors.

In addition to texts by the curator, the publication includes essays by Felicia Leu and Laura Preston, along with a conversation by Maria Hassabi and Nina Canell with Lorenzo Giusti.

Published on the occasion of the epoymous exhibitions at OGR Torino in 2022.

Edited by Samuele Piazza.
Texts by Lorenzo Giusti, Felicia F. Leu, Samuele Piazza, Laura Preston.

Acoustic Thought is an exegesis of the Gospel of Thomas, an apocryphal gospel found at Nag Hammadi in Upper Egypt in 1945.
 
With a score for six female voices by Lisa Holmqvist; a collage of writings by medieval female mystics; and photographs taken by Jeff Weber at the Coptic Museum in Cairo, during a research period at Beirut project space.
 
The book’s covers reconstruct patterns found on the covers of Nag Hammadi Codex II, which, as well as the Gospel of Thomas, contains the Apocryphon of John, the Gospel of Philip, the Hypostasis of the Archons, On the Origin of the World, the Exegesis on the Soul, and the Book of Thomas the Contender.
 
Presented and performed during Perfomance Days, Amsterdam (November 2014) and Hotel Theory, REDCAT, Los Angeles (November 2015).

An exploration of the performativity of the law within Egypt's spectral legal reality.

The publication dissects material collected for Jasmina Metwaly and Philip Rizk's film On Trials, a work-in-progress that uses modes of documentary and fiction making. In it, they reflect on sites where legal proceedings take place. And listen to all manner of actors from within the realm of the law including, lawyers, a TV camera operator who frequents courtrooms, a former inmate, on whose body the legal specter has left unutterable marks, and tailors who specialize in uniforms.

Born to an Egyptian father and a Polish mother, Jasmina Metwaly is a Cairo-based artist and filmmaker, and member of the Mosireen collective. She likes to work with people and their histories, texts, archives, images, scripts and drawings. She is interested in how stories create stories, and how they leave the space of one reality and enter another, intertwining the boundaries of both. Rooted in performance and theatre, her works focus on process-based practices that have a social function that generates tension between participants and audiences.

Filmmaker, writer and freelance journalist Philip Rizk was born in Germany, raised in Egypt and is based in Cairo. His practice has moved beyond the documentary mode that directly engages with realities of historical moments, allowing the documented image to be infiltrated by imaginary worlds. Rizk is part of the video collective Mosireen.