Implications, Sonic and otherwise Adventures in real time making and breaking with sound movement action experimentation installation. A laboratory in which to invent new rules of engagement, and generate playgrounds in the art of public performance. How to let ourselves be contaminated by techniques from religious rituals, political actions, storytelling, emotional states? How to use the material we work with (texts, sensations, found objects, impulses, rules, bodily training, emotions, political or gender situations... anything really) not only as "themes", but also as a reservoir of working methods? How can we be better readers of contexts and use them to our advantage? Is that practice doomed to fail? What does experimental video art (or MTV or 1970s feminist body art or Occupy/Indignados or guerilla warfare) teach us about real time composition in the context of performance? What is the art of misquoting? Of a fragmented, derivative practice? Of an approach to improvisation that is always off balance? Making and responding to music, sound and noise. Voices and machines, speech and screech, recorded and distorted. What is the art of diversion, of interruption, of ridicule? How is improvisation not an exercise or a set of techniques, but an ambiguous political position? On at least two of the days we will practice duet experimentation: What’s the nature of a conversation between two idiots? Can the duet artistic collaboration teach us anything about political or economic systems (consensus, fascism, anarchy, neoliberalism, socialism…)? How to make art by being hospitable to misunderstanding, to fragility, to failure, to coincidence, to erotics, to tactical disagreement? Keith Hennessy was born in a mining town in Northern Ontario, lives in San Francisco, and works regularly in Europe. Director of Circo Zero, he is a Bessie award-winning performer, choreographer, teacher and organiser. Hennessy was a co-founder of the San Francisco performance spaces 848 and CounterPULSE, a member of Sara Shelton Mann’s legendary Contraband, is deeply curious about improvisation, and has been queering bodies and stages for over 25 years. Hennessy is a PhD candidate in Performance Studies at University of California, Davis. www.circozero.org ´Jassem Hindi was born in Saudi Arabia and studied philosophy at the Sorbonne, Paris. He is working in the fields of sound, performance and temporary objects / installations. As a musician, he is using mainly broken objects, diverted machines, lo-fi field recordings, feedbacks, in the spirit of experimental music influenced by noise hardcore, image editing techniques and older masters in the likes of Alvin Lucier or Bellini. Jassem's working method extends to the fields of visual and performative arts, by derivation and commutation of ideas and techniques found within his practice in experimental music and as a reader of various works. He regularly collaborates with choreographers and performers, as a musician, an advisor or as a performer. He flirted with researches around the themes of public displays of violence, intimacy and differentiation, political ritual techniques and the art of hospitality. This year, among others, he collaborated with Keith Hennessy, Sebastian Mattias, Rani Nair and Mia Habib. He is the recipient of several grants and residency programs along with his partners, supported by Norway, Sweden, Germany, France, USA and a couple of curators - among which the Ystad Arts Museum. He is a Sweet and Tender collaborator.
