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It takes as its point of departure a distinction between "object" and "thing", and amplifies and deploys these It takes as its point of departure a distinction between "object" and "thing", and amplifies and deploys these distinctions through the notions of lived experience and of an "offense of things" -- the latter understood as a radical refusal to be taken care of, exhibited, or merely displayed.
Methodologically, the point is to propose different epistemic logics to curation derived from Brazilian experimental art. View on sternberg-press. Save to Library. Tecido Afetivo - Por uma Dramaturgia do Encontro more. Ghostly more. Written in July of to Nicole Beutler. View on nbprojects. Two reflections on the corporeality of power on Public Movement more. View on publicmovementrecord.
The interview, which was originally featured in the French magazine Mouvement no 8. View on performa-arts. Decolonizing Curatorial Lepeck FF more. Volatility, or The Limits of Knowing.
In Spring , Social Text published an issue in memoriam of the influential sociologist Randy Martin. In: Representations, Vol. View on rep. The Power of Co- in Contemporary Dance more.
But around this public event a smaller, less public event took place. For five days, Lepecki gave a workshop for 23 participants, which I had the chance to be part of. On the fourth day, after going through texts and pieces around the subject of speculation, we sat down and had an hour long conversation about none of the above, but which revolved around one word.
View on revistaarta. Under Attack or Expression in the Age of Selfie more. View on internationaleonline. Prospectus for a Future Body: Synchrometrics Ka5. From the curators: Rather than following the more traditional design process characterized by a concrete final product, the work of Choy Ka Fai aka Ka5 is part of a growing field of speculative design practice, a provocative probing of From the curators: Rather than following the more traditional design process characterized by a concrete final product, the work of Choy Ka Fai aka Ka5 is part of a growing field of speculative design practice, a provocative probing of future possibilities.
View on designandviolence. Choreopolice and Choreopolitics: or, the task of the dancer more. View on muse. View on tandfonline. Parasitic Noisification more. In these series of post, commissioned in by New York Live Arts, I muse on questions of "dance and communication," proposing, in a quite convoluted and fast way, a choreographic critique of such notion being that I am not quite sure, In these series of post, commissioned in by New York Live Arts, I muse on questions of "dance and communication," proposing, in a quite convoluted and fast way, a choreographic critique of such notion being that I am not quite sure, indeed, I am quite purposefully vague about what I mean exactly by "choreographic critique.
The vagueness nevertheless is part of the project of parasitic notification. You may find all four blogs in the stable URL link. View on newyorklivearts. Notes on the Atlas Group Archive more. Publication Date: Publication Name: Capitals. Gaston Bachelard , Contemporary dance choreography, arts and public practice , and Bruce Nauman.
Choreography as Apparatus of Capture more. View on mitpressjournals. Still: on the vibratile microscopy of movement more. Singularities: Dance in the Age of Performance Routledge more. He demonstrates the enduring ability of He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five 'singularities' in contemporary dance: thingness, animality, persistence, darkness, and solidity.
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Interview with AndrÃ© Lepecki: What is Performance Studies? (2002)
Publications Oral Site. Browse our online database with author-based or thematic anthologies, or use the search field. Drawn into dance by friends-artists Francisco Camacho and Vera Mantero in he came to witness the surge of Portuguese dance, both as an insider in productions and soon as a critic for the weekly rock magazine Blitz He is currently Associate Professor in Performance Studies at New York University where he teaches courses on critical theory, continental philosophy, performance studies, dance studies, and experimental dramaturgy. He graduated in cultural anthropology at the New University of Lisbon.
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We know that for Arendt the notion of a true or rescued politics has always been bound, deeply, even ontologically, to the notion of freedom. Its afterlife expresses and beckons a challenge and a provocation that are both political and kinetic — in one word, choreopolitical — a challenge we must answer. A couple of lines down in the same type- written fragment, Arendt tells us why it is urgent that we learn how to move politically. The reason is because what is at stake is not just learning how to choreograph and perform a pro- test, or how to organize legislative processes and procedures. Of course, these are not to be neglected in the business of politics, but Arendt is concerned with something else — a more fundamental, and much more precarious kind of movement. And we have to remember that, for Arendt, neither freedom nor the political are a given; they are not anthropologically, historically, or genetically given to the human. It is less predicated on a subject than on a movement bewegung , defined by intersubjective action, that, moreover must be learned, rehearsed, nurtured, and above all experimented with, practiced, and experienced.