The Program

Here the hour by hour outline of the program for the weekend. As you all know, there will be a general strike in Barcelona on the 29 March which implies certain re-arrangements of the program, however nothing intensive. We are just sick of Spanish people that can’t announce their social choreographies early enough for us to book flight efficiently. In any case the program is intact and we are very happy to announce a bunch of talks, events, set up and magical moments beyond the extraordinary.

Wednesady 28

Mercat de les Flors
9.00 pm: Le Sacre du Printemps by Xavier Le Roy (Ticket is required)

Friday 30

Fundació Antoni Tàpies
10.00 am: Introduction and Dorothea von Hantelmann
11.00 am – 2.00 pm: Open discussion on Retrospective by Xavier Le Roy, with Bojana Cvejić, Chistophe Wavelet, Dorothea von Hantelmann, Isabel de Naverán, Laurence Rassel, Mårten Spångberg and Xavier Le Roy

5.00 – 10.00 pm: Graham Harman, Luciana Parisi, Francisco Tirado

Saturday 31

11.00 am – 2.30 pm: Mårten Spångberg, Ana Janevski, Maria Lind
5.00 – 10.00 pm: Goran Sergej Pristaš, Bojana Cvejić, André Lepecki

Due to the general strike to take place in Spain on 29 March, La Sacre du Printemps will not be performed at the Mercat de les Flors on that day. Dorothea von Hantelmann’s intervention has been postponed to the morning of the 30th.

This programme is subject to last-minute changes.

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Choreography As Expanded Practice, Barcelona 29 – 31 March 2012

Conference on choreography as expanded practice on the occasion of the exhibition “Retrospective” by Xavier Le Roy at the Fundació Antoni Tàpies. Taking place in MACBA, Fundació Antoni Tàpies, Mercat de les Flors.

In the last few years the term “choreography” has been used in an ever-expanding sense, becoming synonymous with specific structures and strategies disconnected from subjetivist bodily expression, style and representation. Accordingly, the meaning of choreography has transformed from referring to a set of protocols or tools used in order to produce something predetermined, i.e. a dance, to an open cluster of tools that can be used as a generic capacity both for analysis and production.

Choreography is today emancipating itself from dance, engaging in a vibrant process of articulation. Choreographers are experimenting with new models of production, alternative formats, have enlarged the understanding of social choreography considerably and are mobilizing innovative frontiers in respect of self-organizing, empowerment and autonomy. Simultaneously we have seen a number of exhibitions concerned with choreography often placed in a tension between movement, situation and objects. Choreography needs to redefine itself in order to include artists and others who use choreographic strategies without necessarily relating them to dance and, at the same time, it needs to remain inclusive of choreographers involved in practices such as engineering situations, organization, social choreography and movements as well as expanding towards cinematic strategies, documentary and documentation and are rethinking publication, exhibition, display, mediatization, production and post-production.

In short, choreography is currently experiencing a veritable revolution. Aesthetically, it is turning away from established notions of dance with its strong association with skill and craft, instead establishing autonomous discourses that override causalities between conceptualization, production, expression and representation. At the same time it is gaining momentum on a political level as it is placed in the middle of a society to large degree organized around movement, subjectivity and immaterial exchange. Choreography is not a priori performative, nor is it bound to expression and reiteration of subjectivity but carries as an expanded practice potentialities for the emergence of altogether other subjectivities, ontologies that are not local, teleological or relational. It is becoming an expanded practice. A practice that is, in and of itself political.

The three days conference is dedicated to choreography but engages participants from visual art, art history, performance studies, cultural studies, dance and philosophy. A series of lectures will be interrupted by conversations, discussions, panels and coffee breaks, the participants will experience “Retrospective” by Xavier Le Roy next to other significant examples. The intent of the conference is to introduce different perspectives and locate a departure point for a discourse particular to choreography as expanded practice out of artistic research and into the production of worlds.

The conference will result in a large scale anthology on the topic of choreography as expanded practice.

With: Bojana Cvejic, Dorothea von Hantelmann, Graham Harman, Ana Janevski, Andre Lepecki, Xavier Le Roy, Maria Lind, Isabel de Naverán, Luciana Parisi, Goran Sergej Pristas, Mårten Spångberg, Francisco Tirado, Christophe Wavelet and more.

An event organized by University of Dance and Circus Stockholm, MACBA, Fundació Antoni Tàpies, and Mercat de les Flors, with the support of The Swedish Research Council and the Swedish Arts Grants Committee.

Devised by Mårten Spångberg, in collaboration with Bojana Cvejic and Xavier Le Roy

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Conference Participants

The conference invites artists, thinkers and scholars from a variety of fields dance and performance as well as visual art, performance studies, art history, cultural studies, sociology and philosophy to share three days mixing more scholarly talks with artists presentations, panels, conversations and expanded coffee breaks. 

Bojana Cvejic is a performance theorist and maker, working in contemporary dance and performance also as dramaturge and performer. She has published in performing arts, music, philosophy journals etc. and is author of three books (upcoming Anne Teresa De Keersmaeker: A Choreographer’s Score, Mercatorfonds/Actes Sud, 2012). She is co-author or collaborator in a numerous theater and dance performances with/by J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, C. De Smedt a.o.. Member of TkH Editorial Collective, engaged in teaching (Utrecht University, P.A.R.T.S. etc.) and in developing collective platforms (PAF, St. Erme, 6MONTHS1LOCATION). She is currently completing her PhD at the Centre for Research in Modern European Philosophy at Kingston University.

Dorothea von Hantelmann teaches art history at the Freie Universität Berlin and works at the Collaborative Research Centre “Aesthetic Experience and the Dissolution of Artistic Limits”. Her main fields of research are contemporary art and aesthetics as well as the history and social function of exhibitions. Recent publications are How to Do Things with Art, The Meaning of Art’s Performativity (2010) and The exhibition, Politics of a Ritual (ed. with C. Meister, 2010).

Graham Harman is Professor of Philosophy and Associate Provost for Research Administration at the American University in Cairo. He is the author of numerous books, most recently The Quadruple Object (Zero Books, 2011) and Quentin Meillassoux: Philosophy in the Making (Edinburgh Univ. Press, 2011). 

Ana Janevski is currently Associate Curator in the Department of Media and Performance Art at the Museum of Modern Art, New York. From 2007 – 2011 she held the position of curator at the Museum of Modern Art in Warsaw, where she curated, among many other projects, the large-scale exhibition As Soon As I Open My Eyes I See a Film on the topic of Yugoslav experimental film and art from the sixties and seventies. In 2010 she co-curated the first extensive show about experimental film in Yugoslavia This is All Film: Experimental film in former Yugoslavia 1951- 1991 at the Museum of Modern Art in Ljubljana. Janevski has also co-curated with Pierre Bal-Blanc the performance exhibition The Living Currency.

André Lepecki, is Associate Professor at the Department of Performance Studies at New York University. Author of Exhausting Dance: performance and politics of movement (Routledge 2006). Editor of Of the Presence of the Body (Wesleyan 2004), The Senses in Performance (with Sally Banes, Routledge 2007), Planes of Composition: Dance Theory and the Global (with Jenn Joy, Seagull Press 2010), and the forthcoming Dance (Whitechapel Gallery/MIT, 2012).

He has curated numerous festivals and exhibitions. His co-curatorial and directorial work in re-doing Allan Kaprow’s 18 Happenings in 6 Parts received the International Art Critics Association (AICA) Award for “Best Performance” (2008). In 2010 he co-curated with Stephanie Rosenthal the Archive on Dance and Visual Arts since the 1960s for the exhibition Move: choreographing you, for the Hayward Gallery, London. He is currently working on a book on sculpture and dance.

Xavier Le Roy holds a doctorate in molecular biology from the University of Montpellier, France, and has worked as a dancer and choreographer since 1991. He has performed with diverse companies and choreographers. He has been artist-in-residence at the Podewil in Berlin, and “Associated Artist”at Centre Chorégraphique National de Montpellier, France. His latest works such as the solo Le Sacre du Printemps (2007), the group piece low pieces (2011), and “production” (2011) created together with Mårten Spångberg for exhibition spaces, produce situations that explore the relationships between spectacors/visitors/performers and the production of subjectivities. He recently premiere a piece for exhibition spaces, « retrospective » at the Tapiès Foundation-Barcelona.

Maria Lind is a curator and critic based in Stockholm. She is the director of Tensta Konsthall, Stockholm. 2008-2010 director of the graduate program, Center for Curatorial Studies, Bard College. 2005-2007 director of Iaspis in Stockholm. 2002-2004 she was the director of Kunstverein München. From 1997-2001 she was curator at Moderna Museet in Stockholm, and in 1998, co-curator of Manifesta 2, Europe’s biennale of contemporary art. She has contributed widely to newspapers, magazines, catalogues and other publications. She is the co-editor of the recent books Curating with Light Luggage and Collected Newsletter (Revolver Archiv für aktuelle Kunst), Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (Blackdog Publishing), as well as the report European Cultural Policies 2015 (Iaspis and eipcp) and The Greenroom: Reconsidering the Documentary and Contemporary Art (Sternberg Press). She is the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. In the fall of 2010 Selected Maria Lind Writing was published by Sternberg Press.

Isabel de Naverán, currently working as researcher, critic, editor and coordinator of seminars and programs related to contemporary choreography. Phd in Visual Arts at the University of the Basque Country. Member of Artea, Practice and Research and curator, together with Idoia Zabaleta, of Lanbroa (Artium Museum). Editor of the book Hacer Historia, Reflexiones desde la práctica de la danza (Cuerpo de Letra, 2010). In 2010 she initiated, together with Leire Vergara, Beatriz Cavia and Miren Jaio the office for contemporary art and knowledge Bulegoa z/b, in Bilbao, which is a platform inspired by the desire to bridge the gap between practice and theory. Its aim is to build a space of sustained discourse and hybrid situations where debate, discussion and exchange of ideas can take place and artistic projects can be materialized.

Luciana Parisi, senior lecturer Centre for Cultural Studies, Goldsmiths Univ. London. Her research looks at the asymmetric relationship between science and philosophy, aesthetics and culture, technology and politics to investigate potential conditions for ontological and epistemological change. Author of Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire (Continuum Press). She has also written on the bionic transformation of the perceptive sensorium triggered by new media, on the advancement of new techno-ecologies of control, and on the nanoengineering of matter. Her interest in interactive media has led her research to engage more closely with computation, cognition, and algorithmic aesthetics. She is currently writing on architectural modeling and completing a monograph: Contagious Architecture, Computation, Aesthetics and the Control of Space  (MIT Press, forthcoming) 

Goran Sergej Pristaš, dramaturge and associate professor at the Academy of Drama Art, University of Zagreb. Co-founder and member of BADco., performing arts collective. President of founding board of Center For Artistic Research, University of Zagreb.Program coordinator in Centre for Drama Art (CDU) from 1995 till 2000. President of the board of CDU from 2000 till 2007. First editor-in-chief (1996-2007) of Frakcija, a magazine for the performing arts. One of the initiators of the project Zagreb – Cultural Kapital of Europe.With his projects and collaborations (BADco., Frakcija) participated at Venice Biennale 2011, Documenta 12, ARCO and numerous festivals and conferences. From 1990 to 1992, he was artistic director of the SKUC theatre. In 1993 a dramaturge and member of the artistic council of &TD theatre. 1994 – 1999 a dramaturge in theatre group Montazstroj. He has written a few short scripts for documentary films. As a dramaturge, he participated in numerous dance and theatre productions.

Mårten Spångberg is a performance related artist, choreographer and theoretician living and working in Stockholm. He has been active on stage as performer and creator since 1994, and has since 1999 created his own choreography’s from solos to larger scale works. With the architect Tor Lindstrand he initiated International Festival, an interdisciplinary practice merging architecture and choreography/performance. Since 1996 he has organized and curated festivals in Sweden and internationally. He initiated the network organization INPEX in 2006, with which he also publish The Swedish Dance History. He has long-term experience in teaching and was between 2008 -2012 director of the MA program in choreography at the University of Dance in Stockholm, where he currently directs a long term research project on choreography as expanded practice. In 2011 his first book “Spangbergianism” was published.

Francisco Tirado holds a Dr. Ph. in Social Psychology. He is a Lecturer in the Social Psychology Department of Universitat Autònoma de Barcelona. He is full member of the Group for Social Studies of Science and Technology (GESCIT). His main research interests cohere around four main topics: a) Science and Technology Studies, b) power relationships and political action in new sociotechnical contexts, c) citizen participation in technoscientific controversies; d) medicine and biopolitics. He is the author of several articles and books on STS and Power Relationships in new sociotechnical contexts.


Christophe Wavelet, former performer, has co-directed the activities of the Knust Project (1993-2001), a performance collective (1993-2001) focusing on artistic re-enactments and apropiations, as well as the publication of the french political journal Vacarme (1996-2000). He has collaborated to numerous international manifestations and exhibitions, conferences and publications, both as a curator, scholar and critic. Interested in projects whose priority is at once experimental and discursive, regardless of any medium specificity and within different cultural areas, he has operated as artistic director for LiFE, a cross-disciplinary and transnational contemporary art venue (2005-2010). A fellow of the Akademie Schloss Solitude in 2011-2013, he’s currently writing his first book and working on the French translation of the essays written by Brazilian artist Helio Oiticica.

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