https://www.spreaker.com/podcast/artists-on-fire-by-fuoco-radio--4393412enArtsCopyright FUOCO radiohttps://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/c2d951fe12cc3bdf2e2f5eb3fed904ec.jpghttps://www.spreaker.com/podcast/artists-on-fire-by-fuoco-radio--4393412Tue, 28 May 2024 13:22:38 +0000FUOCO radioFUOCO radiofeeds@spreaker.comcleanepisodichttps://www.spreaker.com/episode/06-between-us-or-who-cares-about-resolution-by-roni-katz--28818380https://www.ronikatz.net

with Jessy Kahnweiler, Kareth Schaffer, Xenia Taniko, Maque Pereyra, Nasheeka Nedsreal, Casey Detrow, Louise Trueheart, Renen Itzhaki, Thomas Dupal, Alice Heyward, Cathy Walsh, Laura Eva Meuris, Johanna Ackva, Jos McKain, Thomas Anthony Owen, Siegmar Zacharias, Giorgio Gago Gagoshidze, Julia Gladstone, Ria Hylton, Nomaduma Masilela, Sophia New, Omar Nicolas, Steven Paul, Maayan Strauss, Nikhil Vettukattil
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Between Us is a format that aims to tackle the relations of what is talked about: how, where, and with whom. By using only questions to dialog, the performance relentlessly claims space for multiplicities and brings to the surface the value of a perpetual, nearly obsessive conversation with no resolution.
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What makes a good conversation? What do we want to spend time talking about? When do we actually talk to one another? What do I care to speak about? How long is too long? Who decides where which conversation belongs? What conversations long to be public? What happens when that private and invisible, secret thing is performed publicly? What boundaries must be crossed? What if we assume intimacy from the get-go? How can being publicly intimate be an act of caring for oneself in a community-constituting way? Are we obsessed with fear? with love? Where do we go from here? Is there anything else?

The format is performed in 2 different versions with accustomed durations. In its participatory version I offer and moderate the format as a game with the audience. In its rehearsed version the performers are chosen for a specific context. The content of the conversation in all its iterations slides through the biographical, confessional, social, political and critical. The conversation is a practice that makes way to talk about shame, fantasies and rage, in addition to notions more commonly associated with masturbation such as self-pleasure and self-care. Scoring intimacy as the mode of conversing produces a genuine attempt towards liberating straightforwardness and radical honesty as strategies for sharing lives. Whether in its participatory or its rehearsed version, the format opens up the space for the audience members/performers to speak their minds and engage actively in a discourse about things that matter to them, and to others, but are rarely given the time to be talked about, let alone publicly in an artistic context.

Initiated in June 2016, this format is part of my ongoing artistic endeavour of developing new formats of conversations and facilitating discourses around socio-political topics within an artistic context. The practice of choreographing conversations is asking me to understand and establish the ultimate conditions for dealing with the conflicts that rise through the conversation. This kind of work aims at mobilizing a community towards awareness and change by facing realities with compassionate yet critical gaze and persistent hope.]]>https://api.spreaker.com/episode/28818380Mon, 01 Jun 2020 15:09:21 +0000FUOCO radiohttps://www.ronikatz.net with Jessy Kahnweiler, Kareth Schaffer, Xenia Taniko, Maque Pereyra, Nasheeka Nedsreal, Casey Detrow, Louise Trueheart, Renen Itzhaki, Thomas Dupal, Alice Heyward, Cathy Walsh, Laura Eva Meuris, Johanna Ackva, Jos McKain,...https://www.ronikatz.net

with Jessy Kahnweiler, Kareth Schaffer, Xenia Taniko, Maque Pereyra, Nasheeka Nedsreal, Casey Detrow, Louise Trueheart, Renen Itzhaki, Thomas Dupal, Alice Heyward, Cathy Walsh, Laura Eva Meuris, Johanna Ackva, Jos McKain, Thomas Anthony Owen, Siegmar Zacharias, Giorgio Gago Gagoshidze, Julia Gladstone, Ria Hylton, Nomaduma Masilela, Sophia New, Omar Nicolas, Steven Paul, Maayan Strauss, Nikhil Vettukattil
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Between Us is a format that aims to tackle the relations of what is talked about: how, where, and with whom. By using only questions to dialog, the performance relentlessly claims space for multiplicities and brings to the surface the value of a perpetual, nearly obsessive conversation with no resolution.
​
What makes a good conversation? What do we want to spend time talking about? When do we actually talk to one another? What do I care to speak about? How long is too long? Who decides where which conversation belongs? What conversations long to be public? What happens when that private and invisible, secret thing is performed publicly? What boundaries must be crossed? What if we assume intimacy from the get-go? How can being publicly intimate be an act of caring for oneself in a community-constituting way? Are we obsessed with fear? with love? Where do we go from here? Is there anything else?

The format is performed in 2 different versions with accustomed durations. In its participatory version I offer and moderate the format as a game with the audience. In its rehearsed version the performers are chosen for a specific context. The content of the conversation in all its iterations slides through the biographical, confessional, social, political and critical. The conversation is a practice that makes way to talk about shame, fantasies and rage, in addition to notions more commonly associated with masturbation such as self-pleasure and self-care. Scoring intimacy as the mode of conversing produces a genuine attempt towards liberating straightforwardness and radical honesty as strategies for sharing lives. Whether in its participatory or its rehearsed version, the format opens up the space for the audience members/performers to speak their minds and engage actively in a discourse about things that matter to them, and to others, but are rarely given the time to be talked about, let alone publicly in an artistic context.

Initiated in June 2016, this format is part of my ongoing artistic endeavour of developing new formats of conversations and facilitating discourses around socio-political topics within an artistic context. The practice of choreographing conversations is asking me to understand and establish the ultimate conditions for dealing with the conflicts that rise through the conversation. This kind of work aims at mobilizing a community towards awareness and change by facing realities with compassionate yet critical gaze and persistent hope.]]>3960cleanfullhttps://www.spreaker.com/episode/05-from-a-speck-of-dust-to-strange-things-by-geoffrey-badel--28723327à la Chambre d'écho - ICI CCN à Montpellier
Une exposition de Geoffrey Badel
En collaboration avec La nuit du chasseur (Recherches sur l'invisible) et Félix Mazard

Geoffrey Badel transforme La Chambre d’écho en borderland, un pays-frontière à la jonction du documentaire et de la fiction. Pour la création de son exposition, il collabore avec le collectif La Nuit du Chasseur (Recherches sur l'Invisible), une équipe professionnelle française de chasseuses de fantômes, pour réaliser une enquête paranormale pendant deux nuits dans le Centre Chorégraphique National de Montpellier. From a speck of dust to strange things présentera les traces de cette expérience collective vécue en janvier 2020. L'exposition invitera le visiteur dans une investigation nocturne mentale et physique du lieu. Ce travail in situ tente de créer une porosité interdisciplinaire entre l'art et la parapsychologie afin d'en extraire un langage plastique et sensible. Il établira un dialogue explicite entre la pratique du dessin, de la vidéo et de la performance.]]>https://api.spreaker.com/episode/28723327Sat, 30 May 2020 23:34:05 +0000FUOCO radioFROM A SPECK OF DUST TO STRANGE THINGS à la Chambre d'écho - ICI CCN à Montpellier Une exposition de Geoffrey Badel En collaboration avec La nuit du chasseur (Recherches sur l'invisible) et Félix Mazard Geoffrey Badel transforme La Chambre...à la Chambre d'écho - ICI CCN à Montpellier
Une exposition de Geoffrey Badel
En collaboration avec La nuit du chasseur (Recherches sur l'invisible) et Félix Mazard

Geoffrey Badel transforme La Chambre d’écho en borderland, un pays-frontière à la jonction du documentaire et de la fiction. Pour la création de son exposition, il collabore avec le collectif La Nuit du Chasseur (Recherches sur l'Invisible), une équipe professionnelle française de chasseuses de fantômes, pour réaliser une enquête paranormale pendant deux nuits dans le Centre Chorégraphique National de Montpellier. From a speck of dust to strange things présentera les traces de cette expérience collective vécue en janvier 2020. L'exposition invitera le visiteur dans une investigation nocturne mentale et physique du lieu. Ce travail in situ tente de créer une porosité interdisciplinaire entre l'art et la parapsychologie afin d'en extraire un langage plastique et sensible. Il établira un dialogue explicite entre la pratique du dessin, de la vidéo et de la performance.]]>5545cleanfullhttps://www.spreaker.com/episode/4-real-good-time-by-kinkaleri-tempo-reale--27900806realizzation Massimo Conti, Marco Mazzoni, Gina Monaco
with Jacopo Jenna, Marco Mazzoni
interactive sound system & live electronics Francesco Casciaro
production Kinkaleri, Tempo Reale
in collaboration with Centro per l’Arte Contemporanea L.Pecci
within the regional project: “Cantiere Toscana Contemporanea”
with the support of Le Murate.Progetti Arte Contemporanea

The performance Real Good Time is the last step of All!, the pluriannual project by Kinkaleri that investigates on communication possibilities of the language in every deviations; the process started with the invention of a gestural code that allows to transcribe the alphabetical symbol directly on the body in a continuous space-time dynamics. A choreographic practice where a rigid grid of translation between alphabet and gesture opens wide a huge place of individual freedom. The invention, which after investigating the dynamics and rhythms of poetry (William Burroughs, John Day), explores new possibilities to develop on two levels, inextricably linked as the sound and choreography, the song form of a text which is Real Good Time Together by Lou Reed. A parallel line of research that will flow into a single and complex performing frame, in the production of a choreography immersed in a sound directly produced from the scene, picked up by sensors and manipulated with machines by the musicians from Tempo Reale. Only two imperatives: each caption must be overcome, every freedom protected. Two search modes that, adhering to the same rigor in research, get involved in an unprecedented polyphonic concert for bodies and sensors.]]>https://api.spreaker.com/episode/27900806Wed, 20 May 2020 20:17:34 +0000FUOCO radioproject Kinkaleri/Tempo Reale realizzation Massimo Conti, Marco Mazzoni, Gina Monaco with Jacopo Jenna, Marco Mazzoni interactive sound system & live electronics Francesco Casciaro production Kinkaleri, Tempo Reale in collaboration with Centro...realizzation Massimo Conti, Marco Mazzoni, Gina Monaco
with Jacopo Jenna, Marco Mazzoni
interactive sound system & live electronics Francesco Casciaro
production Kinkaleri, Tempo Reale
in collaboration with Centro per l’Arte Contemporanea L.Pecci
within the regional project: “Cantiere Toscana Contemporanea”
with the support of Le Murate.Progetti Arte Contemporanea

The performance Real Good Time is the last step of All!, the pluriannual project by Kinkaleri that investigates on communication possibilities of the language in every deviations; the process started with the invention of a gestural code that allows to transcribe the alphabetical symbol directly on the body in a continuous space-time dynamics. A choreographic practice where a rigid grid of translation between alphabet and gesture opens wide a huge place of individual freedom. The invention, which after investigating the dynamics and rhythms of poetry (William Burroughs, John Day), explores new possibilities to develop on two levels, inextricably linked as the sound and choreography, the song form of a text which is Real Good Time Together by Lou Reed. A parallel line of research that will flow into a single and complex performing frame, in the production of a choreography immersed in a sound directly produced from the scene, picked up by sensors and manipulated with machines by the musicians from Tempo Reale. Only two imperatives: each caption must be overcome, every freedom protected. Two search modes that, adhering to the same rigor in research, get involved in an unprecedented polyphonic concert for bodies and sensors.]]>4553cleanfullhttps://www.spreaker.com/episode/3-wicked-technology-wild-fermentation-by-sara-manente--27900748https://api.spreaker.com/episode/27900748Wed, 20 May 2020 20:11:33 +0000FUOCO radio4320cleanfullhttps://www.spreaker.com/episode/2-descend-by-masha-kharitonova-anya-kravchenko-anastasia-tolchneva--27900584https://api.spreaker.com/episode/27900584Wed, 20 May 2020 20:01:14 +0000FUOCO radio4512cleanfullhttps://www.spreaker.com/episode/1-ex-porno-by-cristina-kristal-rizzo--27288432https://api.spreaker.com/episode/27288432Thu, 14 May 2020 01:08:52 +0000FUOCO radio5999cleanfull