LABAN EVENT 2013
workshops teatro del gatto teatro san materno + events
ADDITIONAL EVENTS
The structure of a icosahedron is the architectural space where it is possible to prepare for a dance according to Rudolph Laban’s model of choreography. It gradually opens up into a sequence of locations in the forest, much like a fitness trail, for anyone who wants to try their hand in a strongly mental practice of body movement.
Laban’s Training Area
Monte Verità Park
Miki Tallone - CH
Visual artist. Installative and sculptural works. Photography and art printing.
From her professional career as it has developed to date, more typically related to the applied arts and to architecture, Miki Tallone has drawn an understanding of the visual arts not so much as a field of creativity set apart from others, as more of an elastic catalyst with the potential for expanding into every other field of creativity. Her research focused on a spatial dimension conceived fundamentally as a direct practice of space. This conception can be translated as an idea of space as an abstract entity, as an object of study and at the same time as the origin of hybrid composite structures. The space to which she refers is thus an anthropocentric space, one that is built around mankind, but also in itself an emanation of mankind.
Ciane Fernandes received a Ph.D. in art and humanities for performing artists from New York University (1995), a Certificate of Movement Analysis from LIMS (1994), and a post-doctoral degree in Contemporary Culture and Communications from Federal University of Bahia (2010). She also studied at the Rajyashree Ramesh Academy (Berlin, 2001-2003), associating LMA and Bharatanatyam. Since 1997, she is tenured professor at the School of Theater and at the Performing Arts Graduate Program of the Federal University of Bahia, Brazil, founder and director of the
A-FFECTUS Dance Theater, and coordinator of the Performance Laboratory, where she developed the method of Somatic-Performative Research. She is the author of Pina Bausch and The Wuppertal Dance Theater: The Aesthetics of Repetition and Transformation (New York) and The Moving Body: The Laban/Bartenieff System in Performing Arts Education and Research (São Paulo), and edited six academic journals in Movement Studies, Somatic Education and Performing Arts.
Ciane Fernandez - BR
Von der Heydt Room
Photo Exhibition
137 Perforgraphs investigates how the integration/interaction between being and natural environment, in the performance-sculpture I AM HOME (Lençóis, BA, Brazil, September 2012), is perpetuated through photography. 137 Perforgraphs (Lençóis, BA, Brazil, September 2012) was performed by Ciane Fernandes and photographed by Márcio Ramos, who had their respective identities as “mover” and “witness” interchanged during the creative process.
In the performance-sculpture I AM HOME, Ciane submerged herself within the environment, mostly in a very slow pace, while Márcio moved quickly most of the time, capturing the ecological pulsing of the moment. In the process, photography becomes performative, overcoming the recording or representation of body movement and turning itself into (e)motion.
Perforgraphs’ proposal is that performance’s primary characteristic is not the presence (of the performer or of the public), the event in time, or its recording through a technological medium (in movement or not), but, conversely, spatial pulses which connect all creative-somatic beings in a deep ecological attunement. In this focused yet spread out state of consciousness, EVERYTHING IS HOME.
Jean Kirsten, born in Dresden in 1966, studied Painting and Graphic Art at Dresden University of Fine Arts from 1990 to 1995 followed by two years of postgraduate studies (Meisterklasse). From 1998 to 2004 he was an Assistant professor at the same university. He has had more than 50 solo shows and participated in 60 group exhibitions in Germany and worldwide.
Jean Kirsten - D
Sala Balint
Series for L.
Working only with the space signs, I arranged the prints, drawings, paintings, reliefs and sculptures. At first glance these works look like abstract paintings, but people who know something about Labanotation will also find information about a particular movement in them. At the present time I am working on analysing my paintings and the movement information that is conveyed. A collaboration with Sabine Fichter is planned with a view to creating a performance based on one of my paintings.
From the article originally written for the Laban Guild's Movement, Dance and Drama magazine volume 32 no. 1 Spring 2013.
Born in 1966 he works as an independent architect in Locarno, Switzerland.
After a stay in the US he completed his studies at the ETH in Zürich 1993. In 1989 after a period of practice with Livio Vacchini, his studies and travels in Japan converged into an academic research work about Kazuo Shinohara architecture.
From 1995-2010 he worked at buzzi e buzzi participating in many competitions and realizing various residential works, like minimal house (1998), cubic landscape (2000) and Janus house (2008). In 2010 the ETH in Zürich dedicated a retrospective on the practice work. Further exhibitions in Eindhoven(2011) and Paris (2012). In 2011 he founded buzzi studio di architettura.
Currently under construction are: a residential building on the lakefront in Locarno, a residential, an office and commercial complex in Solduno and a sustainable power plant in Losone.
He collaborated at the Accademia di Architettura in Mendrisio with professor Caruso St. John and Jonathan Sergison, and has published various writings in the national and international architecture press.
Francesco Buzzi - CH
Auditorium
Architecture dances.
A new pavilion at the Monte Verità
The presentation shows a project for a new dance pavilion at the Monte Verità.
The project is an homage to the work of Rudolf Laban, and at the same time an omen that the practice of dance, which significantly marked the history of Monte Verità, will possibly continue in the future thanks to the creation of a new space that will permit this discourse to develop in the contemporary world.
The platonic form of the pavilion arises from the will to circumscribe the space of movement around the human body. The theme is how the load of the human and architectonic body can be freed by dynamic movement.
If dance becomes for Laban an architectonic form, in this project architecture becomes an expression of dance.
The pavilion has only one tridimensional support, like a dancer who soars from the ground and tries to free himself in the air in various directions. Through a fluid path one reaches the circular dance hall placed on the superior floor. The circle implies in it’s form the center, the center of the body, the point from which the Labanian practice sets off.
The hall is bordered by a light diagonal metal truss structure. Further, the structure is clad by a diagonal skin which defines and concludes the space of the dance hall.
The entirely glazed dance hall can be completely opened, in direct contact with the tree tops, the surrounding landscape and with the public in the park. The analogy between the movements of the body and the spatial laws of nature that Laban observed finds a visual and physical connection.
Furthermore, the pavilion, similar to a tree in the park, inserts itself harmoniously in the garden. Leaving the soil almost untouched thanks to it’s minimal support.