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performance evening 004

A  performance by

Risa Horn

free entrance, limited capacity,
time to be confirmed.

<a href="https://www.facebook.com/events/638098427407041" target="_blank>event</a>
<br>
<a href="https://youtu.be/hxk0anlDlwM" target="_blank> view video</a>


performance evening

### A conference-performance by Pablo Alvez Artinprocess

*   A lot of what is written about performance concerns performance in general (as in performing arts) and not performance art in particular.
*   This creates confusion about what parts of that general performance theory apply to performance art.
*   It also limits the possibilities to theorise on the specificities of performance art.
*   Due to some of this laziness, things become messy. The fact that all these considerations are actually generated by people who do not do performance art, or who drag a heavy limb from other fields of origin does not help either, makes us question their authority.
*   There is a lot of “theory” on performance art that just keeps on repeating the same clichés for decades now... the need for presence, the need for risk taking, bla bla bla. Please do not even start mentioning that “espace-temps” thing otherwise I’ll scream.
*   There is also the criticism aiming at “pieces” of performance art, which reveals expectations (a dramaturgy, a “spectacle”) not fully thought through (but what dramaturgy? What spectacle?). Such expectations are, therefore, prejudgements.

![](/images/pablo.png)

*   On the 22nd of December we started unfolding a new pamphlet which is post-“all these things” and draws people’s attention to some interesting sources for reflecting more carefully about what performance art is. None of this is really new, but for some reason those sources seem to remain largely overlooked. We will dedicate particular attention to Kati Röttger and Emmanuel Levinas.

Documentation: 
<a href="https://www.youtube.com/watch?v=Y9Uo7h1N-b0" target="_blank">Watch the video</a> of the conference.

Text references:
Levinas <a href="https://monoskop.org/images/5/56/Levinas_Emmanuel_Totalit%C3%A9_et_infini_essai_sur_l_ext%C3%A9riorit%C3%A9_2000.pdf" target="_blank">Totalité et Infini</a>.

Röttger <a href="https://gateway.pinata.cloud/ipfs/QmeDFhjxrfnGQkaMJw2Jz5mNxprzaEHC2fjrwk8zneeuS8?preview=1" target="_blank">The mystery of the in-between</a>.


A New (Levinasian-Röttgerian) Theory of Performance Art

Softly We Entered Another Truth is rethinking work through practice. It wants to put into question the value of the body: its products, services and experiences.

S.W.E.A.T. asks: What is performance when placed in a context of a non-essential, an insubstantial form of art? How can performance art extend beyond a notion of labour time, or beyond valorisation of excessive (re)actions?

rez gauche invites you - artists, researchers, makers, performers, etc - to experiment with our research process in an informal, professional, post-work society. Frequency and format of presentation is following the artistic process. Resources, benefits, risks and responsibilities are shared.

Softly We Entered Another Truth functions as an experimental practice of a life beyond capitalist consumer culture and engages participants through displacement into artistic practice, love and care.

In December's edition of softly we entered another truth you can join these research practices:

mantra's and other linguistic practice and reading and reflections on
Mari Ruti - The Ethics of Opting Out\_ Queer Theory’s Defiant Subjects
Mark S.G. Dyczkowski - The Doctrine of Vibration\_ An Analysis of the Doctrines and Practices of Kashmir Shaivism


dates, times 2021


19 until 22 July  tryout

6 and 7 October 14h00 - 18h00

9 and 10 November 14h00 - 18h00

14, 15 & 16 December 15h30 - 23h00

info and inscriptions
mail@rezgauche.be


sweat

## chew the rag

This past year during the pandemic, governance over bodies became a common and non-negotiable presence. Conversations surrounding dysfunctional state-governance, structural racism, and global wealth disparities became common, irrespective of class, sexuality, race, or gender expression. Giorgio Agamben speaks of the “whatever singularity” that occurs when a community of varying peoples, with no conditions of belonging, come together to be such that always matter.

Inspired by Agamben’s notion of the ‘coming community’ , *stitch and bitch* takes as its main methodology the sewing circle. Sewing circles have served as a place where people have come together to plan, self-organize, share knowledges, gossips, warnings etc. throughout time and space. In particular, during the Antebellum South in the US, sewing circles formed as resistance to slavery and at other points in US history, sewing circles were charitable endeavors, repurposing fabrics to make blankets and clothes. Ironically, the term ‘sewing circle’ was a coded word that was both slang for and protected the underground network of LGBTQ actors and actresses in Hollywood during its Golden Age.

Rez Gauche will host *stitch and bitch* on a Sunday for anyone who would like to come by and sew. This is an open invitation to join in non-hierarchical organizational structure with the potential for horizontal sharing, a place where texts, thoughts, videos, or ideas can be exchanged as well as fabrics, bits of clothing, etc. Participants can bring their own projects or can just show up and hang and see if they feel inspired. They can come to mend clothing, to make a pillowcase out of a t-shirt. Or simply to sew or knit amongst others. Snacks will be provided!

![](/images/stnbt.png)


news

performance evening 004

performance evening

A New (Levinasian-Röttgerian) Theory of Performance Art

sweat

stitch and bitch