5.11.2015, 19.00 Uhr Einlass, 19.30 Uhr Beginn
FIRE SALE – Präsentation sechs künstlerischer Projekte, durch die Unterstützung des Post-Master Programs A.Pass, Brüssel: Audrey Cottin, Veronica Cruz, Danny Neyman, Sílvia Pereira, Vanja Smiljanić, Jeremiah Runnels
FIRE SALE ist ein Begriff, der sich aus den Verhandlungstaktiken des Römers Marcus Licinius Crassus bildete: Sein privates Feuerwehrunternehmen im antiken Rom rückte bei Bränden vor und löschte sie in einigen Häusern jedoch erst, wenn Crassus den Verkaufspreis des Hauses vom Besitzer aushandeln konnte. Der fortschreitende Brand ließ den Wert der Immobilie sinken, bis im schlimmsten Fall nurnoch das Grundstück zum Verkauf stand. Crassus erzwang seine radikalen Superschnäppchen durch die Angst vor gnademlosen Verlust und Gefahr.
Unter diesem Begriff versammeln sich sechs Künstler, deren Herkunft und Arbeitsorte sich über den gesamten Globus erstrecken. Sie präsentieren ihre Ergebnisse in fünf Städten Europas: Den Haag, Ghent, Köln, Paris, Brüssel.
Eine vereinende Gemeinsamkeit der Teilnehmer findet sich jedoch nicht im künstlerischen Ausdruck, sondern in der gemeinsam empfundenen Dringlichkeit, herauszufinden, was von ihrer Kunst sich nun, nach Jahren der Forschung, innerhalb ihres Researchprogramms, überhaupt als Rettenswert erachtet – unter Schnäppchenbedinungen, im flammenden Ausverkauf präsentieren die Künstler in einer dreistündigen Veranstaltung den FIRE SALE. Es wird gerettet, was sängende Hitze und explosive Attacken übersteht, mit Performances, Pole-Dance-Stangen und besonprekären Objekten.
Informationen zu den Künstlern im Anhang.
FIRE SALE – Presentation of six artistic researches under the support of the post-master program a.pass.
This is a research based FIRE SALE. This term comes from the negotiation tactics of Marcus Licinius Crassus of Ancient Rome. Crassus would arrive on the scene of a building going up in flames, with his army of firefighting slaves, and begin negotiating the sale price of the property before he would agree to command the fire to be extinguished. Taking cynical advantage of merciless loss and real danger, Crassus struck up bargains, under the urgency of seeking common ground, even without common interest.
A way to group artists together is by some resonance, a commonality of some kind of content, semantic meaning, purposive metaphor, and or conceptual similarities and difference. We are a group of six artists coming to the end of our year-long periods of artistic research. We gather our work in the spirit under which the research was made. Although the various works may not share a kind of ‘picturesque’ commonality, our efforts share an almost identical urgency. Our artistic researches attained an inflammable state and therefore we propose a symbolic Fire Sale event, in order to verify what is salvageable at bargain conditions.
The ambulation of a Fire Sale event throughout several central European cities, might as well pinpoint the imminent lack of visionary solutions towards a ubiquitous social catastrophe, a currently common ground up in flames, which our researches eventually reflect or release in its content. The audience attending is invited to
THE RESEARCHERS
Audrey Cottin, is a French (magician facing the wheel of fortune under the sun) artist based in Brussels. Her appearance is colorful, sculptural and spinning. She shares comfort and uneasiness of being in the company of people who don’t stop keeping this world as a continous creative experiment. Inspired by Robert Filiou’s belief that “everybody is perfect” Audrey Cottin has been searching for a perfect collaboration with people she encounters. This search may include experts of various knowledges, skills and perspectives. The methods of collaboration are often defined by what kind of resonance is created between those people (writers, sculptors, scientists, all kinds of impressarios, etc.) and Audrey herself. During “Firesale” Audrey and the audience will encounter outerspace.
Veronica Cruz was born in Tampico, Mexico and has been in continuous movement since her first dance step. She works with the body, its movement and with movement caused by the body that might be reflected in invisible places or somewhere else. Obsessed with subtle details, in her artistic research she often creates interactive scores that work with challenging tasks for the sensorial and engaging audiences by unexpected means. While she offers an open structure for experience she allows participants to shape up the performance with their own perspective. She expects to induce awareness of embodiment and presence (at least momentarily), to bring automatisms and neglected details to consciousness and to promote self-questioning and own-knowledge production.
Danny Neyman is a writer, a dancer/choreographer, and a pirate-psychoanalyst. His material is found – text – recordings of therapy sessions / sex chats / dinner conversations / the reminiscences of his refugee grandmother / youtube self-help videos / high philosophy / hipster fashion talk / conversations with syrian migrants at the gym or the local sandwich shop and so on. His research refuses to close itself off to the mundane and the everyday, attempting to sustain the fragmentary kaleidscopic constitution of contemporary life without cracking under its pressure. Through repetitions and re-enactments of
found-material, he hopes to provoke unrest and a desire for positive change in the world – though what that change could be remains a wildly open question. The guiding conundrum of his research might be formulated as: “How Not to Be Evil?”
As an artist who is not based in any specific location, Sílvia Pereira currently explores Germany, Iceland and Portugal as zones for research. She pursues a constant self-actualization of the subject, by person-ifying multiple identity orientations. Positioning herself in specific cultural circuits and experiencing a
local dérive, has become quite determinant and crucial to the development of her body of work, with ultimate considerations in self-overcoming, becoming-other, schizoanalysis, multiplicity and impersonality. She explores concepts to an empiric extent which are undertaken as playful elements for research and conceives trajectories of life as the artistic object per se, living-as-form, unveiling the possibility of ‘being-zero’ as an excellent source of the art medium.
Vanja Smiljanić was born in Belgrade Serbia in 1986, and lives in Brussels. In her practise she often utilises the model of performance-lecture as a way to bridge fictitious and experiential universes, comprising technical apparatus, diagrams and sci-fi povera sculptures. Connecting otherwise unparallelled reality systems, Vanja’s work attests the foundation of ideologies as alienated regimes, recurring to her own body as a vessel for narration, often shifting between the position of oracle and storyteller.
Jeremiah Runnels born in Texas 1827 died 1887, became a run-away slave and fled to Iceland. It has been said that he killed many a man but only loved one woman. Rip sweet prince.