1,043 research outputs found
On Foreign Discomfort: Magdalena Makeup Live Art Event
No full textA discussion of Magdalena Makeup Live Art Event by Lena Simic and its contextualization within British live art scene, including politics of diversity
Lena Retamoso folio
Get PDFA folio of poetry by Lena Retamoso, appearing in the Spanish original and in English translation by the author, James Joseph Shay III, and Bruno Soria
10 – The Institute for the Art and Practice of Dissent at Home:2008 - 2018
No full textThis is an artist book, edited by Simic and Anderson with a number of contributors including Kim Solga, Michelle Man, Jennifer Verson, Lois Keidan, Tim Jeeves, Elena Marchevska amongst others. 10 is the latest and last publication from The Institute for the Art and Practice of Dissent at Home (2008 – 2018) and looks at 10 persisting problems of the past 10 years, featuring an array of critical and inspiring voices The Institute has worked with over the last decade
Maternal Matters and Other Sisters Artist Catalogue
Get PDFThis artist catalogue has been produced for Lena Simic's solo performance Masha Serghyeevna (Bluecoat, Liverpool 2009) and while it predominantly focuses on this particular work, it also overviews the last five years (2004 – 2009) of Simic's performance making processes and practice: Medea/Mothers’ Clothes (Bluecoat, Liverpool 2004) Magdalena Makeup (Art Workshop Lazareti, Dubrovnik and Old Police Station Community Centre on Lark Lane, Liverpool 2004) Joan Trial (Nuffield Theatre, Lancaster 2005) Contemplation Time (2007-08) Sid Jonah Anderson by Lena Simic (MAP Live, Source Café, Carlisle 2008) The Institute for the Art and Practice of Dissent at Home (2007-ongoing). The first part of the catalogue notes Masha Serghyeevna and its processes whilst the second part of the catalogue gathers an array of commissioned critical perspectives, creative responses and affirmative contexts for Simic's previous work from friends, colleagues and herself. These include writing from Imogen Tyler, Abi Lake, Paula McCloskey, Kerstin Bueschges and Cathy Butterworth. Short descriptions of all of the mentioned arts projects, an extract from Joan Trial performance text and full Masha Serghyeevna performance text are also included
Maternal Matters and Other Sisters Artist Catalogue
Get PDFThis artist catalogue has been produced for Lena Simic's solo performance Masha Serghyeevna (Bluecoat, Liverpool 2009) and while it predominantly focuses on this particular work, it also overviews the last five years (2004 – 2009) of Simic's performance making processes and practice: Medea/Mothers’ Clothes (Bluecoat, Liverpool 2004) Magdalena Makeup (Art Workshop Lazareti, Dubrovnik and Old Police Station Community Centre on Lark Lane, Liverpool 2004) Joan Trial (Nuffield Theatre, Lancaster 2005) Contemplation Time (2007-08) Sid Jonah Anderson by Lena Simic (MAP Live, Source Café, Carlisle 2008) The Institute for the Art and Practice of Dissent at Home (2007-ongoing). The first part of the catalogue notes Masha Serghyeevna and its processes whilst the second part of the catalogue gathers an array of commissioned critical perspectives, creative responses and affirmative contexts for Simic's previous work from friends, colleagues and herself. These include writing from Imogen Tyler, Abi Lake, Paula McCloskey, Kerstin Bueschges and Cathy Butterworth. Short descriptions of all of the mentioned arts projects, an extract from Joan Trial performance text and full Masha Serghyeevna performance text are also included
42 Among the Gormleys
Get PDFThis is a birthday performance for a small invited number of audiences. A site-specific and time-specific response to current political situation (post-Brexit and post-Trump election) which is also concerned to engage with climate change, environmental damage and posthuman condition. Lena performed Nina’s monologue from Chekhov’s ‘The Seagull’ – Trepliov’s play - with the help from her family and in front of the audience of adults, children and animals
42 Among the Gormleys
Get PDFThis is a birthday performance for a small invited number of audiences. A site-specific and time-specific response to current political situation (post-Brexit and post-Trump election) which is also concerned to engage with climate change, environmental damage and posthuman condition. Lena performed Nina’s monologue from Chekhov’s ‘The Seagull’ – Trepliov’s play - with the help from her family and in front of the audience of adults, children and animals
Introduction:Maternal action as exchange, practice, and solidarity
No full textIn this extended introduction, Šimić and Underwood-Lee explore the potential of a maternal sensibility to move us towards maternal action that is explicitly political, ethical, and in relation to our others. Maternal action is also intricately linked with “mothering” and “performance”. The three terms are linked to activism and invoke a sense of doing – maternal action goes beyond the prescribed normative maternal identity to engage in a kind of struggle for a different, self-defining position which will remain open to the plurality of others. The chapter argues for a maternal performance approach that is rooted in exchange, practice, solidarity and plurality. The author's claim the maternal as enabling us to build on imagined, idealised, and actualised pasts and futures, while also located in the lived, embodied, and daily. Through the invocation of maternal action, mothers are positioned as active agents, as performers, in the world, beyond the intimate domestic sphere. This introduction locates the chapters in this book within the wider scholarship of the maternal action and activism
Thinking Back through Our Mothers:The editors in conversation
No full textFor women identifying as mothers, the caregiving imperatives conditioning the lived experience of the role are typically its most compelling aspects. It can be hard to redirect the reflective process backwards; towards the generations of women whose experiences preceded, pre-empted, and were models (or not) for the daughters who m/other in their wake; to review and reflect on the women who gave birth amid the exigencies and of a different cultural-historical moment, who m/othered the complexities of not only those they themselves birthed, and successive generations. This interview with editors of the book, Šimić and Underwood-Lee, considers the effects and influences of their own mothers’ performance of the maternal role and identity. How far might inheritance – in all its many guises and forms of expression – be understood to feed into, or underlie, the tangled strands of habit, ideal, cultural-historical expectation, convention, and improvisation comprising the blend of practices we think of as mothering, as maternal, as motherhood
Interpretation and performance of three orchestral compositions by Gabriela Lena Frank: Escaramuza, Elegia Andian, and Three Latin American Dances
No full textThis work presents interpretative and performance suggestions for three of Gabriela Lena Frank’s orchestral works: Escaramuza (2010), Elegia Andina (2000), and Three Latin American Dances (2004). Frank’s compositions frequently include programmatic elements that reference other well-known compositions, and she incorporates melodies, rhythms, timbres, instrumentation, and performance techniques characteristic of her Peruvian cultural heritage. Examples of these elements are presented from a lecture recital format to demonstrate how performance practice and conducting decisions—in rehearsal and performance—can be utilized to honor the composer’s expressed intent and overcome various technical ensemble and conducting challenges. An overview of the cultural contextual elements includes Harawi and Kachampa dance structures. The author also suggests methods for presenting elements that affect the timbre and instrumental scoring specific to each work, for example the Andean Zampoña. This research provides performers with a resource to deepen their score study, and seeks to inspire more people to perform the music of Gabriela Lena Frank.D. A
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