RIPA - rencontre interuniversitaire de performance actuelle
- PERFORMANCES : 1 April 2017, 18:30 - 23:30
- Michael Martini & Callan Ponsford
- Manoushka Larouche
- Mai Thi Bach-Ngoc Nguyen
- Isabella Leone, Lucy Earle & Leyla Sutherland
- Gabriel Beck & Brice Noeser
- François Rioux
- Francisco Gonzalez-Rosas & Evan Magoni
- Alexis Langevin-Tétrault
- Alexandria Inkster
- k.g. Guttman
For its sixth edition, RIPA – rencontre interuniversitaire de performance actuelle is proud to present nine projects from emerging artists, in addition to the project of this year’s guest artist, k.g. Guttman.
The 2017 programming, achieved in coproduction with Eastern Bloc, offers the performances of artists Gabriel Beck (Concordia), in collaboration with Brice Noeser (MTL); Francisco Gonzalez-Rosas (Concordia) with Evan Magoni (MTL); Alexandria Inkster (University of Calgary); Alexis Langevin-Tétrault (UofM); Manoushka Larouche (UQAM); Isabella Leone, Lucy Earle, and Leyla Sutherland (Concordia); Michael Martini and Callan Ponsford (Concordia); Mai Bach-Ngoc Nguyen (ULaval); and François Rioux (UQAM).
The performances, either in short or long-term, will take place simultaneously in three separate rooms, thereby inviting the public to move around throughout the evening. This layout will contribute to create a contamination of the performances between them and to break the effect of succession in order to multiply the possibilities. The artists will elaborate various reflections on recurring themes during the evening. These include the questions of power relations of the limits of the performative gesture and its impact on the object, or of self-consciousness and consciousness of the other within the performance space, either taking place through a direct action or an infiltration.
The evening will continue with a performance of our guest DJ, Tignasse.
Photo: Jonathan Roy - Rose De la Riva, performance, RIPA 2016.
Artists lineup //
Michael Martini and Callan Ponsford are two artists from different backgrounds: drawing and performance. Through their collaboration, they participate in each other’s research methods in pursuit of an artistic meeting ground. These methods include improvised drawing and performance in found spaces. In their research, Martini and Ponsford study intersections of their domains through relationships of the body to images, especially in producing images, such as in mark-making. In using their bodies in performance, they, as gay cis-male artists, put the male body forward as a subject.
We could agree that Manoushka Larouche is constituted of two fictional individuals from the 19th-century Eastern Europe literature – potentially from Ukraine – whose origin remains enigmatic. However, its formula is related to its context. Thereby, its nominal appearance can take the form of Manuška, Manuska, Manouchka, Manushka, Manouchka, Manoushka. What makes these variations analogous lies in its utterance: [manuʂka]. For practical purposes, we will stick to Eastern Europe – this place between the east and the west.
Through the installation of various objects and forced improvisation, themes of identity and ethnic duality always come to punctuate and nourish the performances of Quebec-Vietnamese artist Mai Thi Bach-Ngoc Nguyen. It is through a constant claim of the medium of performance that the artist throws a physical invitation to create a non-destructive poetry where metaphors and soul pains fit in. It could be accurate to describe art as one of the few ways that the visual poet found to transcend the dichotomy of her daily life and never-ending questions.
Isabella Leone, Lucy Earle, and Leyla Sutherland are creating work at the intersections of theatre, dance, and performance art. Their practice is guided by a focus on the experimentation of form and the performance event, as they play with weaving in qualities or characteristics of other disciplines into the realm of live arts. Leone, Earle, and Sutherland are interested in the dialogues that arise from the pairing of different disciplines of art and thought, asking the question of how to use the methodologies of a particular form to create another. Their process uses space and images as departure points, with a specific focus to visual composition. They work with a horizontal approach to design, language, movement, and character.
Gabriel Beck elaborates his artistic approach by questioning the power relations that govern society, and especially those structuring the relationship to the artwork. What is the fourth wall if not a device which systematically imposes the object-to-subject relationship regardless of the nature of the artwork? How then to position oneself vis-à-vis a society that produces, since its industrialization, the “spectator subject” implicitly based on an exclusive gaze, which judges and consumes? At every moment, the conditions regulating the power relations in the perception of the work are questioned. Beck reveals, in his performances, a unique, collective governance in which its limits only depend on the participants. And Brice Noeser works as a contemporary dance artist since 10 years. As he investigates the notion of language and sets acting devices, Noeser focuses on the exploration of the diverse forms of representation and the different roles he plays in dance, theatre, reflection seminars or performance projects.
François Rioux is interested, among other things, in practices that make the real so powerful.
Francisco Gonzalez-Rosas is a Chilean performance and media artist. After obtaining a B.A. in Acting, his practice focused on combining theatre, video, and digital sources in solo shows as well as collective experiences with artists from different backgrounds. Currently, his work sits at the intersection of sound, video, and performance, exploring questions around identity representation, gender, race, and sexuality; and moreover, how they are linked to technology and digital media. His work has been exhibited in Asia as well as North and South America.
Alexis Langevin-Tétrault a Montreal-based composer and performance artist. He participated in the founding of various electroacoustic and electronic music projects such as QUADr, Falaises, BetaFeed, Alexeï Kawolski, and Recepteurz. His works are characterized by a meticulous conception of synthesis sounds, an exploration of the sound timbre, and a conceptual reflection. Through his practice, he seeks to demonstrate a re-enchanted, proactive vision of the contemporary world. He is interested in the sound and music embodiment strategies, the affects of sound, the rigour of micromontage and articulation, as well as in the space management as a component of musical discourse.
Alexandria Inkster mainly engages in making, devising, or living performance art in one or another of its numerous peculiar forms. Periodically, the output of her practice involves material collaborators such as sculpture-object-things that were either found or fabricated, or elements of installation. Through her practice, she explores relational shifts – material, interpersonal, psychological, and/or perceptual. Via conceptions of empathy, intimacy, play, and magical thinking, enacted and experienced in vulnerability and subversion, her research creation examines alternative ways to inhabit these shared and overlapping lifeworlds.
k.g. Guttman is an artist, educator, and research candidate in the PhD Arts program of Leiden University and the Royal Academy of Art in the Hague, the Netherlands. Her work has received a SSHRC award, (Social Sciences and Humanities Research Council of Canada) to conduct artistic research that considers settler colonial discourse, choreographic practice, and site-specific interventions. From 2008 to 2013, k.g. was an Assistant Professor in the Department of Contemporary Dance, at Concordia University.
- PERFORMANCES : 1 April 2017, 18:30 - 23:30