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2nd block …

emboding translation

 

HWD presentation - Photo from the "heaven"

 

2nd Block, curated by Adva Zakai called MILIEUS, A.PASS MEETS SOL / SCHOOL OF LOVE     here the link

 

Openning week

The presentation focused on what I did in the 1st Block, my problems and how to open up the discussion around stereotype.

I asked myself:  who I am and what is my position in this research? What is the relation between researcher and research? (because Yaguareté didn´t convinced me).

                 Methodological traps: am I becoming the thing that I am criticizing? // how to resist? // How to deal with the distance of context?

Where I want to go?

What can I add to the critical discussion?
And how to bring Latin-american authors?  

Is this Artistic Research? // Do I have a (THE) question of my research?

 

————

Travel to Venice and what I want to remember from the Swamp School: I always expect to much of neoliberal events. The “gondoleros” have been using the same t-shirt (striped, a rayas, style “breton” T-shirt) since when? There are Madonnas everywhere in Italy.  I saw a italian misa. 

I visited for first time the Biennal of Architecture. It was horrible. I saw in the Biennal an event about students in the Turkish Pavillion. I saw the presentation of a girl. She was the only women with velo talking between men. Her presentation it was about a refugee campus. She presented how refugees people build their houses in this campus: in vertical sense. Because there is no space to the side, there is a delimited territory. That´s why they built to up in generations.

Also I saw belgium humour in it pavillion. It was important. 

And “the common”? This travel was about that. I didn´t see too much “the common”. Who relates to apass? Why are we here? What is doing “School of love” here? 

I had a great time, I went to the beach and drank several aperol spritz.

If the common is the one of Swamp School, I don´t want to be part of it. 

 

 

 

 

Half way days

 

The first time that I presented my obsession with translation HERE

 

Why?

How did I arrive to do translation?

Because in my daily life I needed all the time Google Translator

In order to bring this need for communication, I started to translate.

Since then I have tried several forms of translation.
– I became obsessed – 

La necesidad y dependencia de usar un interlocutor para mi comunicación determinó mi práctica artística. 

I started to trying it from BALLET to REGGAETON 

How? 
The firt thing that I did it was I look at ballet vocabulary, and how one WORD has a meanniing IN – FOR a gesture or movement.

 

End presentation – PAF

I tried the same structure of HWD. Here are excert of the script:

 

Zero moment – Soft hanging out → ejercicio del eje/ warming up. 15 min

Voice recorded with Google Translator: Hello everybody. hello, this is a Zero moment – Soft hanging out x 3 –          Please rest. lie down. Use the blankets in space. Could you like to warming up with me? Please inhale and exhale let the blood fall. You can follow me. Rebounds a bit, jump, move a bit the space. Shake out the wrists, each leg. Flexion in your knees and please not change of position. changing fingers. Give a punch with weight change and translate in the space. you can exhale and release your voice with a sound. You can be violent.

 

Un première momento de explanation/transmission of what I am doing

This is a translation of what I am doing at apass in this moment. And what is apass for me.

First. When I got to apass I got excited because I saw in the university with two Macs. There are microphones that work, projectors, cameras. There is one person who helps us with the technique, another with residence papers, another who explains many times about the reimbursements. There is, above all, a general coordinator that contains the situation and who checks the ball. There is also a person who, through his artistic practice, heals the block, and this person will be criticized.

Instead, I come from a university where projectors do not run, that does not consider cables, that does not provide space for rehearsal, that does not provide printers with endless paper.

I feel rich in this context. I realized that it’s a choice to work with concepts like trash bastards, simultaneity residue.

Here we spend a lot of paper, it is printed in simple, a lot. We have an open library.

Apass, is for me, even with ugly smell and smell of rat, a paradise that support our work.

We even have a key and alarm to enter when we want,

We have Mohamed who is the celebrant and sings when he cleans. With Mohamed I practice my French. We can buy books, we can pay mentors, we can travel with money from the university for what our project needs. People in apass, rotten food left in the refrigerator or in the closet.

All this for what? To criticize you, me. BUT: what is critically? And who am I to criticize?  

So that we focus on Artistic Research, which is a kind of legitimizing process that we are running after. These are our beautiful production conditions. Fuck Artistic Research. YOU. European, white and pretentious. Synthon of artist going to legitimation in academia. YOU. Slippery, elitist, contradictory, indefinable. We love you. Why? Because it gives us power. Why I came here to legitimate my practise? 

Sometimes, really, I don’t know and I am thinking in become electrician.

This place, Performing Arts Forum es muy emocionante. Xavier Le Roy went through here and it makes me very nervous to know that I am writing a thesis around the author’s figure and that here he created part of the Product of Other Circumstances, nine years ago.

About this work. This about translations. In effect, this text originally written in Spanish and translated by Google translator into English.

I’ve become better using the translator, because you have to be specific and most of the time google is not that smart. Above all, you have to write short sentences.

This deuxième moment of exposition / transpose of what I am doing tries to explain that I arrived to translation because it became a necessity of my daily life and artistic production. I must admit it was a little difficult to be engage with the translations. I feel scared for sharing this material with you, because are not complete, not virtuous, and quite arbitrary. As I already said, this translations are defined as cheap, bastard, slut or trash translations.

And this way of production is recurrent in all my work. And when you realise your logic production, what is supporting your practise, why are you taking your aesthetic, ethic and political decision, your influences, your history, your interest, you become powerful.

And now I understand why I’m here and I want that legitimation.

Lilia told me at our first coordination session that people leave fortalecida. strengthened

With the help of my mentors, I develop this format that above all, brings me closer to my background. In fact, the study of dance techniques, the reflection on performativity, the considerations around the relation movement and word and the pedagogical questioning about what the experience of a work of art implies, constitute a fundamental part of me. work before apass.

I’m trying to not have the performance pressure, as Vladimir recommended, and to work with the fact that translations are not perfect, in Femke’s words. With their help, and also Adva, Lilia and Kristien from he first block.

Thanks all this people and of course you that are supporting my practise. And supporting me, you are changing me.

Finally and as you already know, derniene moment, or troisieme partie, of mediation, transformation that is feed-back integrated into practice. I’ll introduce it better later.

 

At this moment I did the translations

From Reggaeton to Cunningham Technique.

From Graham Technique to Reaggaeton.

And from Contemporary dance (Arenal) to Argentine folklore (Escondido and gato).

3 – Este es el troisième momento experiencing/mediation/transformation of what I am doing.

 I invite you to take the same position of support, do 1 or to rotations and then change of partner. For HWD we did this but related to the untranslatable. For this occasion, I invite you to talk about what are the conditions of production that you can recognize are supporting you, that affects your work. in order to produce motivation or limitations or more. Or even, if you can recognize how and why are you busy with the things you’re busy with.

Please take the position. DO IT.

Before to talk [ALWAYS] change of role. Last thing, also you can change of partner, of way of support each other, or even change of level, but not go to the floor.  Yes?

Again if you need paper or write, there is here.

I start but then I will try to keep silence. I am busy with privileges, pleasure and violence. So, as you see, privileges related to conditions of production, interiorization of violence through the techniques of dance. and pleasure as a source or force with potential disruptive.

 

Here you can see some photos 

 

In December 2018 I visited Argentina . I went to Buenos Aires, Fiske Menuco, Villarrica, and Santiago de Chile. 

 

——————-

Important reading: Shery Simon (Gender in translation) / the matherials writen by me in Spanish about dance and text / phD Tesis by Eugenia Cadus about Dance History in Argentina / Bleshi Lleri / Poliamory / Decolonial approach (Mignolo).



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