Warren Neidich

ATTENTION REHEARSAL at Duende Artists in Residence, Rotterdam Nov 2009

2011-02-20T22:06:00.002Z

ATTENTION REHEARSAL

How does the language which describes the dance arts and the visual arts translate into each other? How does the culture of those very different methods of expression fold into each other? Is it the actual morphology of those expressions, what they look like that holds a key to an understanding, or is it something deeper at the level of method and process that we can explore there relation to each other? If so then does that give us a key into a much more metaphysical concept, a meta language, into the essence of what constitutes an? Furthermore, when does a rehearsal become a work of art and what if instead we never allow a rehearsal to make that change over to the completed work and instead suspend it as a never ending condition of becoming? In our Global Attention Economy that produces our experience of reality today what if we engaged our senses and cognitive apparatus instead in an emancipatory condition of never ending exploration by making works of art that never became full fledged works but instead remain suspended in a quais mode. Does this not then give a potential political essence to the work of art thus constituted as the never ending rehearsal that never reaches a specific reference point or point of exchange? How could one sell a product that never rested or was arrested. These are some of the questions that this work Attention Rehearsal attempts to answer.

Through a series of discussions a number of rules have been designed through which an elaborate schema of intellectual and body movements can be produced and registered. The dance artist Canan Erek, born Turkey, will visit the studio of the visual artist, Warren Neidich, born USA, and vice versa. Each will discover and utilize props and objects found in the others studio to produce gestures of dance works or art works which will be recorded . These recordings serve two functions. First they constitute a kind of memory of transdisciplinary and transcultural encounters which will be later projected in another dance performance as rehearsal or never ending work to be enacted at the end of our residency and performed in front of a live audience. The videos will be interlaced in a real time work taking place in the space of the residency in which an improvisational work will be made using real objects found in and around that space and watched by a real audience. As such the rehearsal reaches even beyond dance and visual art to encounter video and media.

In an attempt to interface this dance work with the Knowledge Economy and in an effort to understand artistic expression in the context of the production of intelligible facts we will add another layer to this work by inviting a dance critic and art critic to join us on stage during the performance. Not as critics on the outside but as actors who comment on the dance and artistic elements of the peice from the inside. We call this method „open ended symposium“. The main idea of this performance then is to tear down the wall that usually seperates the critic and the performer and also bringing into the action an outside voice. While they are commenting and contextualizing the actions, they also become part of the performance. At the end of the performance, as the audience leaves, they too will be able to voice their opinions by having the opportunity to write their comments in a book lying on a table by the exit.

Our first collaboration in that sense took place in the Residency of Duende Artist studios in Rotterdam. We would like to further investigate the ideas of this work and have the opportunity to engage with other contexts, platforms and audiences.

Love Letters to a Surrogate Stage II, MUHKA, Antwerp

2011-02-01T20:23:00.006Z

Love Letters to a Surrogate Stage II, organized by Warren Neidich and Lode Geens and including the following artists: Morgan Fisher-Ludo Mich, Anita Pace-Adva Zakai, Emily Mast-Benjamin Berdonck, Thomas Lawson-Damien De Lepeire, Charles Gaines-Kati Heck, Jenny Yurshansky-Kris Vleeschouwer, Jeff Hassay-Elena Bajo, Zoe crosher-Nel Aerts, Krysten Cunningham-Fia Celen, Andrew Berardini- Guy Rombouts, Marcus Herse-Joris Van De Moortel, Lee Welch-Hans Wuyts, Tif Sigfrids-Ria Pacquee, Lindsay August-Salazar-Line Ochin, Ania Diakoff-Chris Gillis, Delia and Milenko Prvacki-Charles & Saraha, Elena Bajo-Vaast Colson, Vanessa Conte-Lee Welch, Brandon Andrew-Filip Gilissen Please join us Monday night 17th of January at MUHKA from 8 pm to 10 pm
	For the occasion of Art's Birthday, taking place at MUHKA, Museum of Contemporary Art Antwerp, NICC is delighted to host LOVE LETTER TO A SURROGATE. Join us at Love Letters To A Surrogate, a one-off event of nineteen ongoing simultaneous performances occuring in real time distributed across and through the institutional and spatial footprint of the Muhka. Instead of one performance following another, on a predetermined single stage, multiple settings and spaces will provide the opportunity for multiple and simultaneous engagements with a wandering and nomadic audience. Here is how the project works. First, artists in Los Angeles who performed a set of instructions in Love Letter to a Surrogate Stage 1 at the Torrance Art Museum and a few others who wanted to be a part of it, write a set of instructions for participating artists in Belgium. As such the artist in Belgium reenacts or acts as a surrogate to reproduce an action/performance that the asking artist could have performed himself or herself had they been in Antwerp. The selection of Belgian Artists for LOVE LETTER TO A SURROGATE stage II was a collaboration between Warren Neidich en Lode Geens. Three underlying conditions formed the unconscious of the project. It was hoped but not a prerequisite that artists would ask artists across generations. That a conversation or correspondence would take place between artists and that these would be saved and sent to the MUHKA in Antwerp via the internet or fax where they would be printed and archive. The strong connectivity to similar practices found in Conceptual Art and Fluxus would be acknowledged and provide food for thought. MUHKA, Museum of Contemporary Art Leuvenstraat 16 Antwerp, Belgium http://www.nicc.be/ http://www.muhka.be/ http://www.artsbirthday.net/

Love Letters to a Surrogate Stage II, organized by Warren Neidich and Lode Geens and including the following artists:

Morgan Fisher-Ludo Mich, Anita Pace-Adva Zakai, Emily Mast-Benjamin Berdonck, Thomas Lawson-Damien De Lepeire, Charles Gaines-Kati Heck, Jenny Yurshansky-Kris Vleeschouwer, Jeff Hassay-Elena Bajo, Zoe crosher-Nel Aerts, Krysten Cunningham-Fia Celen, Andrew Berardini- Guy Rombouts, Marcus Herse-Joris Van De Moortel, Lee Welch-Hans Wuyts, Tif Sigfrids-Ria Pacquee, Lindsay August-Salazar-Line Ochin, Ania Diakoff-Chris Gillis, Delia and Milenko Prvacki-Charles & Saraha, Elena Bajo-Vaast Colson, Vanessa Conte-Lee Welch, Brandon Andrew-Filip Gilissen

Please join us Monday night 17th of January at MUHKA from 8 pm to 10 pm

For the occasion of Art's Birthday, taking place at MUHKA, Museum of Contemporary Art Antwerp, NICC is delighted to host LOVE LETTER TO A SURROGATE.

Join us at Love Letters To A Surrogate, a one-off event of nineteen ongoing simultaneous performances occuring in real time distributed across and through the institutional and spatial footprint of the Muhka. Instead of one performance following another, on a predetermined single stage, multiple settings and spaces will provide the opportunity for multiple and simultaneous engagements with a wandering and nomadic audience.

Here is how the project works. First, artists in Los Angeles who performed a set of instructions in Love Letter to a Surrogate Stage 1 at the Torrance Art Museum and a few others who wanted to be a part of it, write a set of instructions for participating artists in Belgium. As such the artist in Belgium reenacts or acts as a surrogate to reproduce an action/performance that the asking artist could have performed himself or herself had they been in Antwerp. The selection of Belgian Artists for LOVE LETTER TO A SURROGATE stage II was a collaboration between Warren Neidich en Lode Geens.

Three underlying conditions formed the unconscious of the project. It was hoped but not a prerequisite that artists would ask artists across generations. That a conversation or correspondence would take place between artists and that these would be saved and sent to the MUHKA in Antwerp via the internet or fax where they would be printed and archive. The strong connectivity to similar practices found in Conceptual Art and Fluxus would be acknowledged and provide food for thought.

MUHKA, Museum of Contemporary Art

Leuvenstraat 16

Antwerp, Belgium

http://www.nicc.be/
http://www.muhka.be/
http://www.artsbirthday.net/

Lindsay August-Salazar-Line Ochin

Jeff Hassay-Elena Bajo

Krysten Cunningham-Fia Celen

Charles Gaines-Kati Heck

Tif Sigfrids-Ria Pacquee

Brandon Andrew-Filip Gilissen

Elena Bajo-Vaast Colson

Elena Bajo-Vaast Colson (left) Anita Pace-Adva Zakai (right)

Anita Pace-Adva Zakai

Vanessa Conte-Lee Welch

Thomas Lawson-Damien De Lepeire

Delia and Milenko Prvacki-Charles & Saraha

Zoe crosher-Nel Aerts

Andrew Berardini- Guy Rombouts

Morgan Fisher-Ludo Mich

Emily Mast-Benjamin Berdonck

Jenny Yurshansky-Kris Vleeschouwer

Warren Neidich Acceptable Differences: Pluripotentiality and Painting

2011-02-01T19:38:00.014Z

The Cultural Center of Belgrade has the honour to invite you to the opening of the exhibition

Warren Neidich Acceptable Differences: Pluripotentiality and Painting

Curated by Maja Ciric, recipient of the Lazar Trifunovic Award for Art Criticism, 2010

Opening Reception Wednesday, January 12th from 12 noon-10pm Exhibition continues till Sunday, January 30th

Cultural Center of Belgrade Art Gallery

Knez Mihajlova 6

Belgrade, Serbia