WinLab is a programme of workshops with leading international artists aimed specifically at working professionals.
Participants have the opportunity to share the practices of these leading artists and to engage with other artists in this artistic community.
This year we welcome Maria Hassabi (CY/US), Miranda Tufnell (UK) and Eva Karczag (NL), Bojana Cveijc (RS/BE) and Jennifer Lacey (US/FR).
Maria Hassabi will lead a one-week workshop. Everyday actions like walking, standing, sitting, will be used to engage the participants in group actions in order to produce material. This material will then be processed with tools from Hassabi’s practice, such as inserting pauses, decelerating actions and applying precision, in an attempt to reach a state of quietness. By quieting everything down, we will be able to see what it is that we have, discuss it, edit it, and notice nuances within the environment and within each self that are usually dismissed. Maybe these nuances can become further tools for creating.
A short performance will be developed and shared with an invited audience on the final day of the workshop.
“If you hold an image for a long time your initial understanding of it begins to crack.”
Maria Hassabi on Stillness in FRIEZE, Issue 195 May 2018. Stillness is the Move. Interview by Harry Thorne. Apri 16, 2018
This workshop begins in the body, in our sense of breath and of bone, in the polarities of weight and lightness, gravity and momentum, stillness and movement …. listening to the body, listening to the world through the body. Through touch, exploring under the surface … into the detail and living architecture of bone … deepening our awareness of the forces at play through body and environment. Moment by moment sensation, story, memory, imagination and dream weave how we feel, perceive, respond and move.
We will take time to listen and sense, exploring the nuanced and diverse rhythms that shape the whole – there are winds within winds in the body. In the ongoing flux of experience, bone offers anchorage, a slowing and landing of attention that helps us find connectedness and coherence. Through listening, moving and writing, tuning more fully to the fields of influence at play through and between us and our surrounding worlds, and enriching our dancing.
“Of all the dangers we face the greatest is the deadening of our capacity to respond … we are not substances that abide, we are patterns that perpetuate themselves; we are whirlpools in rivers of everflowing water. The sense of self shifts from noun to verb, from a separate enduring entity that needs its comforts and defences, to a dancer in relationship to life around us”
Bojana Cvejić’s work spans philosophy, theater and performance education.
If Not Now, Maybe Later
Towards a poetics of imagination
Poetics can be distinguished from other kinds of thought exercised in art by virtue of its capacity to ponder a curious question: “What is the art I would like to see before I can see it?” To muse on a poetical principle, for instance, how to be with empty hands in a performance, is different from creation by posing or choreographing a problem, whereby ideas and forms of sensibility develop in parallel, in a problematic and discordant relationship.
While problems are posed in order to further one’s creation beyond habit, poetical principles direct the thought of creation toward imagination into futurity often leading to a poetic usage of language. Principles do not promise sensations or images, but demand more words in the effort of imagining where a new creation process might begin. If not now, maybe later
In this two-day workshop, we will attend to those ideas which make us hesitate and to which we eventually return, obsess with or leave aside for a better future. The goal is to test our poetical imagination with words and inklings unmoored from productional realism. We will be looking at how writing shapes the conceptual imagination in dance and performance.
Please, bring your writings as well as any textual material which you relate to potential creation.
Grounded in dance and dancing, Jennifer Lacey’s research, Extended Hermeneutics, is a project that uses artworks as diving systems.
She will explore concept of reading dance: bodies and their environments, and methods of interpretation and the ethical implications.
The ‘reading’ may occur through methods of study, interpretation, oration, divination or something else we do not know yet.
Miranda Tufnell and Eva Karczag
We leave it to artists to self-define; the most commonly used threshold of low income is a household income that is 60% or less of the average (median) British household income in that year; currently that equates to £14,134 (median income is £23,556 pa).
(Universal Credit, Pension Credit, Disability Living Allowance, full-time students in possession of NUS or ISIC cards, assistants or professional carers of people with disabilities)
The intensives are designed to build throughout the week, and ask bookers to commit to the whole week / weekend.