Why was the opening ceremony of the second international puppet theater festival in Azerbaijan so damn solemn an occasion? Probably because the organizers have put so much hope in it. In November 2011, when the first international theater festival opened in Baku, the Azerbaijan State Puppet Theater turned 80 years old. It is a venerable institution. It was the first time such a large-scale international festival was organized in the history of Azerbaijani theater.
How can you help this man asking the world for help? In this post, I outline the latest information I can gather, as of November 12, 2013, about relief assistance for the victims of super typhoon Yolanda (aka Haiyan in international circles).
HR-Stamenov’s The Phenomenon of W24°58’59,43″ N42°07’55,29″ is very much a site-specific, media, sound and light installation. This time, he toys with the image of a ghost metro train which has traveled throughout Europe and suddenly appears in Berlin. It ignores physics, gaps between buildings, space and time.
Pyotr Pavlensky’s bodily public actions “involve the actual power mechanisms.” His performances of sewing his mouth closed in protest against the arrest of Pussy Riot, or lying naked in barbed wire to protest harsh laws, have had wide international resonance.
“The situation” is purely experiential, engaging viewers immediately in real time and space to implore a questioning of the art experience, and experience itself. If “This situation” is not a work of performance design, I don’t know what is. It is not surprising to learn that Sehgal is a trained choreographer; he composes what is then physically interpreted by non-actors, actors and dancers, and in the case of “This Situation,” intellectuals.
Oleg Kotov and Sergei Ryazansky took the unlit version of the silver-and-red torch through the hatch of the International Space Station. While gripping the torch in the gloved fist of his spacesuit, Kotov crawled out of the hatch and waved it triumphantly 261 miles (420 km) above the planet Earth.
Darat al Funun is a home for the arts and artists from the Arab world. It organizes exhibitions, talks, film screenings and educational programs, hosts performances and concerts, offers artist residencies, and publishes books and catalogs. One to three fellowships are sought in Amman, Jordan.
Samuel Buggeln, a New York theatre director and designer, is presently in Buenos Aires, where he is researching the Argentinian theatre world. This is part of a series of Samuel’s special reports from Buenos Aires. See more at his blog 25weeksbsas.blogspot.com.ar. His website is http://www.buggeln.net.
Twenty-five artists and cultural operators from Egypt, Jordan, Iran, Palestine, Lebanon, Morocco, Tunisia and Turkey will be guests at Trans Europe Halles Meeting 76. They will offer inspiration and examples of how they work in independent culture under harsh conditions and to share their stories of how culture actions can lead to social change and a more open society.
Of particular interest would the November 9, Open Space Forum, which organizers say “will explore several key factors in the development of contemporary culture that we consider important. They are: the development of international partnerships, the establishment of independent art spaces, as well as the development of new audiences and international mobility of artists and creative products.”
Dancers! choreographers! Lend me your ears. Submit your latest productions to this international dance festival in Germany. They will pay for virtually everything, including your meals. There is no entrance fee.
It’s a prefab vision, but the exhibition seems to be arguing for a Fluxcity vision. that allows a single module to form into clusters, communities and hives. The concept leans on Maciunas’s prefab design for Fluxhouse, which was completed in 1965. An architect, George Maciunas, educated in architecture at Cooper Union and Carnegie Institute of Technology, held several prestigious professional positions in firms including Skidmore, Owing and Merrill, Olin Mathieson Chemical Corporation and Knoll Associates. For sure, Fluxcity is not a fancy idea.
Grants will be awarded to projects that involve arts organizations, artists, and designers working in partnership with local and national partners to have a transformative impact on community vibrancy. Applications are encouraged from all 50 states and any U.S. territory.
Reporting from Buenos Aires, Samuel Buggeln, a New York theatre director and designer, is presently is researching the Argentinian theatre world. He has been blogging about his experiences there and posting them at 25weeksbsas.blogspot.com.ar. He took in a Spanish troupe performing in a lavish Argentinian theater. These are his impressions.
This post offers two videos. First, a video excerpt of the Provincetown Tennessee Williams Theater Festival’s workshop production of In the Summer House (Act 2). At the end of this post is a video recording of the post-performance conversation I moderated with the show’s director David Kaplan.
ARTThinkSouthAsia welcomes applications from South Asian practitioners working across a wide range of creative and cultural activity, as also from those who are working outside it who demonstrate knowledge, understanding and passion for culture. Artists and persons with unconventional careers and experiences are also invited to apply.
The Korea Arts Management Service is considering project proposals submitted by international festivals, arts centers, and networks who will implement a project involving Korean performing groups/artists as part of their performance program.
Deadline for circus artists to apply to the Festival du Cirque de Demain in Paris is October 31. Now directed by Alain M. Pacherie, the Festival welcomes every year dozens of acrobats, tightrope walkers, clowns, jugglers and trapeze artists in Paris and confront their hopes and energies. The next festival takes place January 23 to 24, 2014.
This is not Tolkien’s Mines of Moria. This is not an image from Peter Jackson’s upcoming Hobbit film sequel subtitled The Desolation of Smaug. This is Sedlec’s Church in the city of Kutna Hora in the Czech Republic.
In “Wonderlust,” Canadian artist Sarah Anne Johnson’s work pushes the boundaries of photography by incorporating burning, scratching, gouging and glitter into her practice. These effects, she believes, “make visible the elation, beauty and self-consciousness of sex.” She photographed her subjects in their homes and then worked with the resulting prints in her studio