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Music | Dance | Performance
Performed by nora chipaumire, Shamar Watt, Atiyyah Khan e Kris LeeSound Concept and direction nora chipaumireDJ vinil Atiyyah KhanDJ digital Shamar Watt e Kris LeeSound design Antek MantorskiTechnical direction Roderick MurrayText...
NORA CHIPAUMIRE | 100% POP
2020-02-26
 Performed by nora chipaumire, Shamar Watt, Atiyyah Khan e Kris Lee Sound Concept and direction nora chipaumire DJ vinil Atiyyah Khan DJ digital Shamar Watt e Kris Lee Sound design Antek Mantorski Technical direction Roderick Murray Text | Script nora chipaumire Set design Ari Marcopoulos, Kara Walker e Matt Jackson Studio Light Design | Costume Concept nora chipaumire Co-production The Kitchen, Crossing the Line Festival e and Quick Center for the Arts at Fairfield University Support Fondation d’entreprise Hermès in the context of New Settings Program
Grace Jones is perhaps the first superstar who was black, female and unapologetic about her presence that I fell in love with.In the work 100% POP, I find myself returning to the ways information and knowledge is or was acquired by those of us who grew up in less free times - in times of Drum magazine, african broadcast stations, color bars, poverty, active connections to rural and township lifestyles. We approach this by sound clashing elements and Grace Jones’, Zimbabwe’s Chimurenga music, dub and black noise. nora chipaumire
100% POP is a tribute to Grace Jones, the famous Jamaican singer, actress and model. As a black superstar, she has had a far-reaching influence on pop culture and introduced a new, shifting image of the black body. In a monologue bursting with infectious energy, combining voice, dance and music, nora chipaumire talks about her discovery of Grace Jones during her youth in Zimbabwe and her longing for independence. In 100% POP chipaumire also deals with the emancipation of the black body by embracing and challenging stereotypes related to its significance and representation. Having inherited Zimbabwe's historical and political legacy, chipaumire uses her work to deconstruct preconceptions about the black body and assess its emancipation on stage through forms of self-portraiture, biographical aspects and images of liberation and independence. For the artist, born without property/home, name or class, the performative body can be a way for a possible salvation, a manifest, or a potential vehicle for self-determination. In her performances, chipaumire uses spoken word, music and a direct engagement of the audiences - 100% POP is danced on stage with the audience nearby - as well as traditional culture and her personal history as tools of denunciation and transformation.
Image: Ian Douglas
nora chipaumire born in Mutare, Zimbabwe and is based in NYC. Graduated from the Faculty of Law of the University of Zimbabwe, nora chipaumire holds a Master's degree in Choreography and Performance from Mills College. chipaumire is a 2018 Guggenheim fellow and a four-time Bessie Award winner (2007, 2008, 2014 e 2019). chipaumire further was a fellow of the Foundation for Contemporary Arts in 2016 and received a Doris Duke Artist Award in 2015. She was a member of the Maggie Allesee National Center for Choreography (MANCC) in 2007-2008-2009 and 2015 and received a Mariam McGlone Emerging Choreographer Award by the Wesleyan University Center for the Arts in 2007. Her current and ongoing work includes a digital book project - nhaka - a theory, technology, practice and process to her artistic work. Her upcoming work will be an opera.
- LocationTheatre stage - Auditorium
- Schedule22h00 - 23h00
- Days2020-02-26
- Price€ 7,50
City By Night is a long durational performance that derives its inspiration from the atmosphere and sounds of a city by night.The working process starts with night walks done intuitively and impulsively without a clock or a planne...
CITY BY NIGHT
2020-02-01
 City By Night is a long durational performance that derives its inspiration from the atmosphere and sounds of a city by night. The working process starts with night walks done intuitively and impulsively without a clock or a planned route until the morning arrives. During these walks in the chosen cities, Tatu Rönkkö collects objects and records sounds that he finds interesting. The harvested material is used to build instruments later used to create the actual performance: a continuous ”soundscape and atmosphere” up to twelve hours long where time and space disappear making room for wandering and wondering. City By Night is a new way for Rönkkö to explore his body and mind in trance-like state in the process of walking and performing. The performance happens in a dimly lit room where the audience can come in, stay and leave as they want; an otherworldly yet safe space for Rönkkö and the audience to stop and be without time collectively. In today's cities the constant bombarding of information and impulses and the endless variety of choices promote feelings of confused and disconnection from ourselves on a deep level. The norm seems to be: fast, fragmental and derived by new technologies. City By Night proposes a stop and a look inside ourselves.
City by Night is a five-part performance piece that happens in Helsinki, Paris, Berlin, Tokyo and Porto between 2018 and 2020. The first performance took place in Helsinki in June 2018 as part of the performance art festival URB, curated by Kiasma, the modern art museum of Helsinki. Each part has the same site specific idea; each long durational performance only happens once. For the performance in Porto Rönkkö is collaborating with the portuguese filmmaker Catarina Neves Ricci, who has created video films specially for this one performance. The video material too is shot in the streets of Porto by night.
City By Night is a project supported by the Kone Foundation
Image: Petri Virtanen/The Finnish National Gallery
Tatu Rönkkö (b. Kuopio, 1983) is a percussionist and performing sound artist from Helsinki, Finland. He has done several solo concerts and performances with found objects around the world in the past ten years. In his solo concert series I Play Your Kitchen (2013-2015) Rönkkö improvised in people's kitchens using the objects found in each space as his instrument. He also has collaborated and worked with artists such as Liima, Ilpo Väisänen (Pan Sonic), Islaja, Hildur Gudnadottir, Nils Frahm and Greg Saunier (Deerhoof). He has also worked with dancers, visual artists and film directors such as Vincent Moon or portuguese Catarina Neves Ricci. Catarina Neves Ricci (b. Lisbon, 1984) is a filmmaker and dance-theatre director based in Lisbon. She studied Film in Buenos Aires and has since then lived and worked in Brazil, Barcelona, Amsterdam, Istanbul, Berlin and Ljubljana, where she has just premiered a play with the Slovenian National Theatre Drama. Her works in film and dance frequently contemplate an affecting storytelling, where the erotic, the feminine and no-taboo inhabit. Catarina's universe enjoys an accurate use of sound, symbolism and color. Enjoying a collaborative work, and the creation through different mediums, she's been writing- directing for cinema, dance, music, theatre and landscape.
- LocationVilla's Chapel
- Schedule10h00 - 19h00
- Days2020-02-01
Sound in the absence of language is a group project led by British artist Mark Fell. Working with a group of students based at Staatliche Hochschule für Gestaltung Karlsruhe (HfG) the project is a response to the museum - its arc...
SOUND IN THE ABSENCE OF LANGUAGE
DE 2020-01-23 a 2020-01-25
 Sound in the absence of language is a group project led by British artist Mark Fell. Working with a group of students based at Staatliche Hochschule für Gestaltung Karlsruhe (HfG) the project is a response to the museum - its architectural and acoustic character, its visual bias, and the protocols of circulation and behaviour. Over three days the group embark on a durational performance that takes the form of systematised sound based interventions in the space.
Based on a partnership with Staatliche Hochschule für Gestaltung Karlsruhe (HfG), Sound In the Absence of Language starts from a residency by graduate students in Media Art under the supervision of Mark Fell focused on the development, exploration and analysis of systematic approaches to sound, action, space and time within the foundation’s institutional context. Particular emphasis is given to patterns and collaborative structures. Similarly, the position and role of the audience is considered and placed within the works’ systematic fabric.
Focused on a form of thinking enabled through practice, the project offers its participant students a route into expanded methodologies. Taking a lead from these students, the project’s paradigmatic approach based in process-as-emergent-material negotiates and establishes radical new models for site-specific arts-educational practices, and facilitates innovative relationships between institutional partners.
- Days23-01-2020 - 25-01-2020
BLACK BOMBAIM & JOÃO PAIS FILIPE SOTE apresenta “PARALLEL PERSIA”
2019-11-24
- Schedule18h00 - 21h00
- Days2019-11-24
- Price€ 10,00
PAULO LISBOA - ASTERISMO. SEQUÊNCIA PARA PIANO, GUITARRA E PROJETOR (COM MARCO FRANCO E FRANCISCO CORDOVIL) | COLOR SOUND FRAMES 2019
2019-11-17
- Schedule18h00 - 20h00
- Days2019-11-17
- Price€ 5,00
JERSULAM IN MY HEART | COLOR SOUND FRAMES 2019
2019-11-17
- Schedule18h00 - 20h00
- Days2019-11-17
- Price€ 5,00
The expanding relationship between moving image and sound/music is one of the most striking features of art and culture of the last two centuries. Crossings between the different sensorial dimensions run through the history of bot...
COLOR SOUND FRAMES
DE 2019-11-16 a 2019-11-17
 The expanding relationship between moving image and sound/music is one of the most striking features of art and culture of the last two centuries. Crossings between the different sensorial dimensions run through the history of both cinema and music. However, it was within the experimental practices at the intersection of these fields that these relations evolved more freely and extensively. While the majority of such interdisciplinary endeavours remained relatively marginal to the art world’s recognition, they are nowadays perceived as highly influential. Keeping true to an eminently exploratory character, Color Sound Frames is dedicated to national and international projects that today follow this line of artistic creation, with a special focus on meetings between analog and digital, between the predisposed and the unforeseen, and the live realization of both sound and image.
Artists: Mariska de Groot, António caramelo vs. Demónio António, Demdike Stare & Michael England, Paulo Lisboa (com Marco Franco e Francisco Cordovil), Jerusalem In My Heart.
- Days16-11-2019 - 17-11-2019
- Price€ 5,00
Intrigued by the phenomena and history of optical sound, Mariska de Groot makes, performs and composes for comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often ...
“INCIDENCE OF LIGHT” | MARISKA DE GROOT
DE 2019-11-16 a 2019-11-17
Intrigued by the phenomena and history of optical sound, Mariska de Groot makes, performs and composes for comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience in light, sound, movement and space.
- Days16-11-2019 - 17-11-2019
- Schedule18h00 - 20h00
- Days2019-11-16
- Price€ 5,00
- Schedule18h00 - 20h00
- Days2019-11-16
- Price€ 5,00
CONFERÊNCIAPODER, BELEZA E ALIENAÇÃOARTHUR JAFA08 NOV | SEX | 21h00Auditório de SerralvesNa conferência "Poder, beleza e alienação", com moderação de Philippe Vergne (Diretor do Museu de Serralves), Arthur Jafa abordará ...
FÓRUM DO FUTURO: MONUMENT 0.4: LORES & PRAXES, ESZTER SALAMON
DE 2019-11-08 a 2019-11-09
 
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CONFERÊNCIA
PODER, BELEZA E ALIENAÇÃO
ARTHUR JAFA
08 NOV | SEX | 21h00
Auditório de Serralves
Na conferência "Poder, beleza e alienação", com moderação de Philippe Vergne (Diretor do Museu de Serralves), Arthur Jafa abordará os seus processos criativos e o facto de a produção cultural negra ser ainda hoje feita em "queda livre" a partir de um lugar espiritual e emocional carregado de dor e ausência de meios.
Com uma carreira de mais de três décadas que se move entre o museu e o cinema, Arthur Jafa é uma das figuras centrais da cultura contemporânea americana, tendo já colaborado com Spike Lee, Beyoncé ou Jay-Z. Na sua obra existe uma pergunta recorrente: como podem os meios visuais transmitir fielmente "o poder, a beleza e a alienação” intrínsecos de certas formas de música negra norte-americana? Premiado este ano com o Leão de Ouro para melhor artista na Bienal de Veneza, Jafa desenvolve no seu trabalho um correspondente visual deste género de música a que chama "black visual intonation”.
* Esta conferência terá tradução simultânea.
Entrada gratuita mediante levantamento de bilhete (2 por pessoa).
Bilhetes disponíveis no próprio dia, a partir da hora de abertura da bilheteira.
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MONUMENT 0.4: LORES & PRAXES (RITUALS OF TRANSFORMATION)
ESZTER SALAMON
08-09 NOV | SEX-SÁB | 12h00–18h00 Museu de Serralves
A artista e performer Eszter Salamon, galardoada este ano com o prestigiante Evens Art Prize, apresenta a exposição-performance Lores & Praxes (rituals of transformation), da sua série MONUMENT, que reflete sobre as relações entre coreografia e história: "E se ser-se apaixonado pela desigualdade, em lugar da singularidade, pudesse reduzir as divisões e tecer outro futuro? Pode a utopia ser reconfigurada como um espaço de movimento? Bailarinos de nove países entregam-se a uma transformação performativa de danças de guerra e de danças de resistência originárias de quatro continentes. Poderão inverter o fluxo de migração do conhecimento? Serão eles próprios moldados por histórias de domínio e migração? E o que podem noções como local ou estrangeiro significar neste contexto?”
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O INSUSTENTÁVEL PESO
DA UTOPIA
COCO FUSCO
08 NOV | SEX | 19h00
Biblioteca de Serralves
Nos últimos dois anos surgiu um conflito entre as autoridades estatais cubanas e uma jovem geração de agentes culturais que se centra na seguinte questão: até que ponto podem operar livremente no domínio público cubano aqueles que trabalham fora das instituições do Estado? Coco Fusco, artista multidisciplinar e escritora cubano-americana – cujo trabalho explora as políticas de género, identidade, etnia e poder em produções multimédia e performances –, debaterá nesta conversa os recentes confrontos entre a comunidade artística cubana e o governo de Cuba, que recentemente a impediu de entrar no país dias antes da abertura da Bienal de Havana. Até quando conseguirá o governo continuar a oprimir a criação artística independente com o peso insustentável da sua utopia?
Com Eduarda Neves.
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Direção Artística Artistic Direction: Eszter Salamon Colaboração Artística Artistic Collaboration: Boglárka Börcsök Desenvolvido com e interpretado por Developed and performed by: Liza Baliasnaja, Amanda Barrio Charmelo, Sidney Barnes, Mario Barrantes Espinoza, Boglárka Borcsok, Stefan Govaert, João Martins, Sara Tan, Vânia Vaz, Tiran Willemse Produção Production: Elodie Perrin / Studio E.S., Alexandra Wellensiek / Botschaft GbR Co-produção Coproduction: Internationales Sommerfestival Kampnagel (Hamburg) em cooperação com in cooperation with Museum für Kunst und Gewerbe Hamburg, Tanz im August/HAU Hebbel am Ufer (Berlin) em cooperação com in cooperation with KINDL Zentrum für zeitgenössische Kunst, Kunstenfestivaldesarts (Brussels) Com o apoio de With the support of: DRAC - Agência Regional de Assuntos Culturais em Paris, Ministério da Cultura e da Comunicação de França e Hauptstadtkulturfonds (Berlim) DRAC – The Regional Directory of Cultural Affairs of Paris – Ministry of Culture and Communication and Hauptstadtkulturfonds (Berlin) Agradecimentos Thanks to: Seloua Luste Boulbina, Asad Raza, Boghossian Foundation – Villa Empain
O desenvolvimento de uma das fases deste projeto foi apoiado pelo The development of one phase of this project was supported by the PACT Zollverein (Essen), P.A.R.T.S. e and NATIONALES PERFORMANCE NETZ (NPN), Fundo de Coprodução para Dança.
As datas de exibição no Porto são apoiadas pelo Fundo Internacional de Performance de Convidados Nacionais da NATIONALES PERFORMANCE NETZ, que é financiado pelo Comissário do Governo Federal para a Cultura e os Media. The performance dates in Porto are supported by the International Performance Fund of National Guests of NATIONALES PERFORMANCE NETZ, which is funded by the Federal Government Commissioner for Culture and the Media.
- Days08-11-2019 - 09-11-2019
"You are about to enter a universe that’s just made of voice”. After this announcement has resounded, a group of four guests as well as audience members find themselves immersed in darkness and surrounded by a sound exclusive...
REGULAR MEASURES - ALESSANDRO BOSETTI
DE 2019-10-16 a 2019-10-20
 "You are about to enter a universe that’s just made of voice”. After this announcement has resounded, a group of four guests as well as audience members find themselves immersed in darkness and surrounded by a sound exclusively constituted by voices. These voices are detached from language and scattered in an immaterial universe of which they are the only elementary particles. Its perceivable reality and ever changing landscapes are solely constituted by voices reorganizing themselves. This surprising universe is a fabric of interwined voices suspended within the void. It soon poses a series of ethical, aesthetical and philosophical dilemas to the guests which are now inhabiting it and determining its future shape. It’s a universe that resembles not only the bi-dimensional Flatland of Edwin Abbot or the isolationist outer-world of Jean Paul Sartre’s Huit Clos but also has the structural features of a Victorian Parlour Game or of a behavioral tests as the Milgram test. Moreover, it is an essentially radiophonic situation in which sound creatures come to life as purely sonorous subjects. Their condition and destiny are uncertain and their materiality is limited to that of a plurality of disembodied voices. "Regular Measure” takes its name from a sentence of Greek philosopher Heraclitus for which matter is born in the shape of tiny fires appearing and disappearing at a regular pace in the same way as the particles of disembodied voice populating our sound universe appear and disappear from its aural horizon. Regular Measures is part of a series of pieces and of an ongoing research on the potential of purely sonorous communities or hyper polyphonies. They are explored along with the fantasy of a purely voice-made and body-less sound creature possibility. It draws an alternative theory of voice as emergence and autonomous entity and explores utopian new possibilities and concepts of polyphony as community.
Access: with museum ticket.
*You may book your place within the groups of four guests by email addressed to a.conde@serralves.pt. You should mention your choice of date and time amongst the following possibilities: 11 a.m., 1 p.m., 3 p.m. or 5 p.m. (Subjected to availability)
(‘Regular Measures’ was originally created in the frame of: ‘SAVVY FUNK, an iteration of Every Time A Ear di Soun’ — a documenta 14 Radio Program, curated by Marcus Gammel and Bonaventure Soh Bejeng Ndikung). Image: © Alessandro Bosetti
Alessandro Bosetti ( Milano, Italy, 1973) is a composer, performer and sound artist whose works delve on musicality of spoken language, utilizing misunderstandings, translations and interviews as compositional tools. His works for voice and electronics blur the line between electro acoustic composition, aural writing and performance. He created a vast body of work of hybrid, award winning, text-sound and radio compositions for the main Radio's and Electro Acoustic Music studios in Europe as WDR, Deutschland Radio Kultur, Radio France, ABC Australia, ORF, GRM Paris. Current projects include the abstract polyphony dispositive "Plane/Talea”; "The Notebooks”, based on Leos Janacek speech melodies archives; the monophonic extravaganzas "Mini and Maxigolf” with Neue Vocalsolisten Stuttgart; "Journal de Bord”, a music theatre co-production by GMEM/CÉSARÉ/La Muse en Circuit (centres nationaux de création musicale) 2017-2018; and Mask Mirror an instrument and software that reorganizes speech for musical purposes enacting a form of electronic ventriloquism.
- LocationMuseum
- Schedule11h00 - 18h00
- Days16-10-2019 - 20-10-2019
With a career expanding through rock, free improvisation, noise, singing, songwriting, solo percussion, psychedelic, minimalism or drone, Keiji Haino became a living legend. His music exhales a striking singular intensity, free of...
KEIJI HAINO | VOICE AND ELECTRONICS
2019-10-03
 With a career expanding through rock, free improvisation, noise, singing, songwriting, solo percussion, psychedelic, minimalism or drone, Keiji Haino became a living legend. His music exhales a striking singular intensity, free of the specificities of style, appearing as clearly in a fragile song as in an extreme noise explosion. His early inspiration in Artaud has been a major current cutting across Haino’s decades long artistic output and is especially felt in Haino’s voice solo work. Keiji Haino has been active in group and solo projects since the early 70’s such as Lost Aaraaf, Fushitsusha, Nijiumu, Aihiyo, Vajra, Nazoranai. Vastly prolific in his output, he has been involved in a big number of collaborations having worked with Faust, Kazuo Ohno, Derek Bailey, Min Tanaka, Loren Connors, John Zorn, Makoto Kawabata, Pan Sonic, Boris, Stephen O'Malley, Oren Ambarchi, Jim O'Rourke or Charles Hayward, amongst many others.
Access Tickets: 7,5€ Young/Student, Over 65 and Amigos de Serralves: 3,75€
- LocationAuditorium
- Schedule22h00 - 23h00
- Days2019-10-03
- Price€ 7,50
The fifth edition of The Museum as Performance will offer an encompassing programme of video, dance and visual and musical/sound performances, most of them national premieres. Highlighting the rich and long-standing history of Ser...
THE MUSEUM AS PERFORMANCE 2019
DE 2019-09-07 a 2019-09-08
 The fifth edition of The Museum as Performance will offer an encompassing programme of video, dance and visual and musical/sound performances, most of them national premieres. Highlighting the rich and long-standing history of Serralves as a pioneering multi and cross-disciplinary museum, the cycle includes major works by Tamara Alegre, Antonia Baehr, Latifa Laâbissi & Nadia Lauro, Pedro Barateiro, Sofia Dias & Vítor Roriz, Alexandre Estrela, Vasco Mendonça with Drumming – Grupo de Percussão, Nguyen + Transitory and Kat Válastur, a group of artists whose work has been fostering the opening and exploration of paths for artistic practices and reflections, within contexts guided by encounters and/or intersections between live performance and visual arts, questioning their traditional places of representation.
Artists: Tamara Alegre (CH/ES), Antonia Baehr (DE), Latifa Laâbissi(FR) & Nadia Lauro ( FR), Pedro Barateiro (PT), Sofia Dias & Vítor Roriz (PT), Alexandre Estrela (PT), Vasco Mendonça (PT), Nguyen + Transitory (DE/SG) and Kat Válastur (GR). 
- Days07-09-2019 - 08-09-2019
Members of the collective A Besta, André Calvário and João Sousa have specified the complicities engendered by several bands and projects in their duo Ácidos. They define this new adventure as a nucleus of experimental improvi...
Ácidos & About Angels and Animals - Jazz no Parque
2019-07-20
Members of the collective A Besta, André Calvário and João Sousa have specified the complicities engendered by several bands and projects in their duo Ácidos. They define this new adventure as a nucleus of experimental improvisation with a rock matrix, going the references of their constructions from the riffs of the so-called prog tendency (eg, King Crimson and Magma) to the stoner style of, for instance, the Kyuss, with occasional allusions to the entire history of combinations between this musical genre and jazz. For this concert they invite another duo who works in the crossed traditions of free jazz and improvised music - About Angels and Animals, formed by the saxophonists Julius Gabriel and Jan Klare, renowned for the way that they reconcile abstraction with energy, in search of an expression whose formal aspects include both spontaneous and sophisticated elements.
- LocationPark
- Schedule18h00 - 19h00
- Days2019-07-20
Now with Albert Cirera and Marco Franco in substitution of João Guimarães and João Pais Filipe, Fail Better! invite Théo Ceccaldi for this concert, with whom the mentor of this band, Marcelo dos Reis, has played alongside in s...
Fail Better! & Théo Ceccaldi - Jazz no Parque
2019-07-13
Now with Albert Cirera and Marco Franco in substitution of João Guimarães and João Pais Filipe, Fail Better! invite Théo Ceccaldi for this concert, with whom the mentor of this band, Marcelo dos Reis, has played alongside in several contexts, beginning by Chamber 4 (which also includes Luís Vicente). Ceccaldi is a young violinist who is already one of the leading musicians in the French jazz scene. The music proposed by the quintet normally combines aspects of free jazz, post-bop, rock and even folk and country, in a trans-idiomatic understanding of improvisation (no scores or combined structures) that distinguishes and personalises it. Reinforced by Ceccaldi - the greatest current exponent of the violin lineage that began with Stéphane Grapelli and has also involved Jean-Luc Ponty –, the group is likely to gain even greater, and unpredictable, dimensions.
- LocationPark
- Schedule18h00 - 19h00
- Days2019-07-13
The 28th edition of Jazz in the Park fosters collaborations between groups and Portuguese individual musicians with international artists, aiming to build stronger relationships between the Portuguese music scene and other countri...
JAZZ NO PARQUE
DE 2019-07-06 a 2019-07-20
The 28th edition of Jazz in the Park fosters collaborations between groups and Portuguese individual musicians with international artists, aiming to build stronger relationships between the Portuguese music scene and other countries. Thereby, composer and drummer Pedro Melo Alves invites the North American Mark Dresser and French Eve Risser for a new project; Fail Better! will perform with their special guest Théo Ceccaldi (France); and the duo Ácidos will perform with another duo, from Germany, About Angels and Animals, in pursuit of the universalistic ideal of jazz at the beginning of a new millennium. Always forging new paths for everyone involved, and proposing several world premieres.
Pedro Melo Alves’ in igma (Portugal / United States / France) World premiere Pedro Melo Alves: drums, electronics; Mark Dresser: double bass; Eve Risser: piano, prepared piano; Abdul Moimême: prepared electric guitar; Aubrey Johnson: vocals; Mariana Nunes: vocals; Beatriz Nunes: vocals
Winner of the Bernardo Sassetti Composition Award in 2017 and one of the most acclaimed figures of the new generation of Portuguese jazz, Pedro Melo Alves has been developing a path of musical research that combines elements of jazz and contemporary classical music. In addition to his contributions to the group, The Rite of Trio and its Omniae Ensemble, he has already been exploring these currents in the projects Symph and O. in igma is a new venture from this Porto-based musician, involving leading musicians from the international scene, such as Mark Dresser and Eve Risser. Dresser is one of the world’s leasing double bass players for almost four decades and Risser has amazingly reformulated the piano’s distinctive capacities. This musical formation, which will stage its world premiere, also includes Abdul Moimême, Portugal’s leading musician in the field of electroacoustic improvisation, and three singers with blossoming careers - Aubrey Johnson, Mariana Nunes and Beatriz Nunes – who together form a highly unusual instrumental septet. Fail Better! & Théo Ceccaldi (Portugal / Spain / France) World premiere
Marcelo dos Reis: electric guitar; Albert Cirera: soprano and tenor saxophones; Luis Vicente: trumpet; José Miguel Pereira: double bass; Marco Franco: drums + Théo Ceccaldi (violin)
Now with a new formation - with Albert Cirera and Marco Franco in substitution of João Guimarães and João Pais Filipe - Fail Better! invite Theo Ceccaldi for this concert, with whom their mentor, Marcelo dos Reis, has played alongside in several contexts, including, in particular, Chamber 4 (which also includes Luis Vicente). Ceccaldi is a young violinist who is already one of the leading musicians in the French jazz scene. The music proposed by the quintet normally combines aspects of free jazz, post-bop, rock and even folk and country music, in a trans-idiomatic understanding of improvisation (no score or combined structures) that distinguishes and personalises it. But with Ceccaldi - the greatest current exponent of the lineage of the violin that began with Stéphane Grapelli and has also involved Jean-Luc Ponty – the group is likely to gain even greater, and unpredictable, dimensions.
Ácidos & About Angels and Animals (Portugal / Germany) World premiere
Ácidos – André Calvário: electric bass, João Sousa: drums; About Angels and Animals – Julius Gabriel: baritone and tenor saxophones; Jan Klare: alto and bass saxophones
Members of the collective A Besta, of which both are also members of the group, Cardíaco, André Calvário and João Sousa have specified the complicities engendered by this and other musical projects in their new duo, Ácidos. They define this duo as a nucleus of experimental improvisation with a rock matrix, exploring the references of their constructions - through prog riffs (eg, King Crimson and Magma) to Kyuss-style stoner, with occasional references to the entire history of associations between this musical genre and jazz - from the Mahavishnu Orchestra to Fire! by Mats Gustafsson. For this concert they will invite another duo, on the saxophones, who work in the combined traditions of free jazz and improvised music - About Angels and Animals, formed by the musicians, Julius Gabriel and Jan Klare – who are renowned for the way that they reconcile abstraction with energy, in search of an expression whose formal aspects include both primary and sophisticated elements.
- Days06-07-2019 - 20-07-2019
Winner of the Bernardo Sassetti Composition Award in 2017 and one of the most acclaimed figures of the new generation of Portuguese jazz, Pedro Melo Alves has been developing a path of musical research that combines elements of ja...
Pedro Melo Alves’ in igma - Jazz no Parque
2019-07-06
 Winner of the Bernardo Sassetti Composition Award in 2017 and one of the most acclaimed figures of the new generation of Portuguese jazz, Pedro Melo Alves has been developing a path of musical research that combines elements of jazz and contemporary classical music. In addition to the Omniae Ensemble and his contributions to The Rite of Trio, he has already been exploring these principles in the projects Symph and O. The ensemble in igma is a new venture from the Porto-based musician, involving top musicians from the international scene such as Mark Dresser and Eve Risser. Dresser is one of the world’s leading double bass players for almost four decades and Risser has reformulated the piano’s capacities with amazing results. This dream band also includes Abdul Moimême, a Portuguese influential musician in the field of electroacoustic improvisation, and three singers with blossoming careers - Aubrey Johnson, Mariana Dionísio and Beatriz Nunes – who together form a septet of highly unusual instrumentation.
- LocationPark
- Schedule18h00 - 19h00
- Days2019-07-06
Joan Jonas is a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theat...
JOAN JONAS - EARLY WORKS
2019-05-26
 Joan Jonas is a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols. The overlap of mirrors and reflected images is one of its most remarkable and presences in your work.
In relation with the exhibition "Joan Jonas" at the Serralves Museum, the performing arts program will present the reconfigurations of the Mirror Check (1970) and Mirror Piece I & II: Reconstrution (1969/2018-19), at the Serralves Park and Auditorium, in the context of the inauguration and in the XI Edition of the Serralves in Festival.
Mirror Piece I & II was first performed in the program BMW Tate Live Exhibition: Ten Days Six Nights, curated by Catherine Wood, Senior Curator of International Art (Performance), Isabelle Maidment, Assistant Curator of Performance, and Andrea Lissoni, Senior Curator of International Art (Film), 16-25 Mar, 2018, Tate Modern. Mirror Piece I & II and Mirror Check reconstruction and presentation at the Serralves Museum of Contemporary Art is realized by Joan Jonas together with Nefeli Skarma. Mirror Check is performed by Catarina Marcos and Mirror Piece I & II is performed by Catarina Marcos, Catarina Vilar Marques, Diana Oliveira Vieira, Douglas Melo, Guilherme de Sousa, Helena Martos, Jessica Guez, Josefa Pereira da Silva, Leonor Mendes, Liliana Oliveira, Magda Almeida, Sancha Meca Castro, Sara Santervás, Teresa Queirós and Valentina Parravicini.
Image: Joan Jonas, Mirror Piece I, 1969, performance, Bard College, Annandale-on-Hudson, New York, 1969. Photo by Joan Jonas © 2019 Joan Jonas
Auditorium and Serralves Park (6pm) Mirror Piece II was one of the first in a series of time-based works that established Jonas as a leading figure in the field of performance art. In this piece, performers carry out a series of carefully choreographed actions with mirrors and glass. The size and weight of the props mean that the performers’ movements have to be slow and careful. The constant danger that the mirrors will break creates a sense of anxiety among the spectators. The mirrors fragment the space, the audience, and the performers. Library of Museum of Contemporary Art (7pm) Joan Jonas’s Mirror Check — performed for the first time in 1970 and which consolidates the later Mirror Pieces — marks an important theoretical and artistic turning point for the artist as she transitioned from using mirrors as media in her sculptures to using it as an instrument in her performance. The performer meticulously observes and examines the body through the mirror, as an object and agent, exploring different angles and perspectives.
- Schedule18h00 - 19h30
- Days2019-05-26
Joan Jonas is a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theat...
JOAN JONAS - EARLY WORKS AND TALK WITH THE ARTIST
2019-05-25
 Joan Jonas is a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols. The overlap of mirrors and reflected images is one of its most remarkable and presences in your work.
In relation with the exhibition "Joan Jonas" at the Serralves Museum, the performing arts program will present the reconfigurations of the Mirror Check (1970) and Mirror Piece I & II: Reconstrution (1969/2018-19), at the Serralves Park and Auditorium, in the context of the inauguration and in the XI Edition of the Serralves in Festival.
Mirror Piece I & II was first performed in the program BMW Tate Live Exhibition: Ten Days Six Nights, curated by Catherine Wood, Senior Curator of International Art (Performance), Isabelle Maidment, Assistant Curator of Performance, and Andrea Lissoni, Senior Curator of International Art (Film), 16-25 Mar, 2018, Tate Modern. Mirror Piece I & II and Mirror Check reconstruction and presentation at the Serralves Museum of Contemporary Art is realized by Joan Jonas together with Nefeli Skarma. Mirror Check is performed by Catarina Marcos and Mirror Piece I & II is performed by Catarina Marcos, Catarina Vilar Marques, Diana Oliveira Vieira, Douglas Melo, Guilherme de Sousa, Helena Martos, Jessica Guez, Josefa Pereira da Silva, Leonor Mendes, Liliana Oliveira, Magda Almeida, Sancha Meca Castro, Sara Santervás, Teresa Queirós and Valentina Parravicini.
Image: Joan Jonas, Mirror Piece I, 1969, performance, Bard College, Annandale-on-Hudson, New York, 1969. Photo by Joan Jonas © 2019 Joan Jonas
Biblioteca de Museu de Arte Contemporânea de Serralves (5.15pm)
Joan Jonas’s Mirror
Check — performed for the first time in 1970 and which consolidates the
later Mirror Pieces — marks an important theoretical and artistic
turning point for the artist as she transitioned from using mirrors as media in
her sculptures to using it as an instrument in her performance. The performer
meticulously observes and examines the body through the mirror, as an object
and agent, exploring different angles and perspectives. Auditorium and Serralves Park (6pm) Mirror Piece II was one of the first in a series of time-based works that established Jonas as a leading figure in the field of performance art. In this piece, performers carry out a series of carefully choreographed actions with mirrors and glass. The size and weight of the props mean that the performers’ movements have to be slow and careful. The constant danger that the mirrors will break creates a sense of anxiety among the spectators. The mirrors fragment the space, the audience, and the performers.
- Schedule16h00 - 18h30
- Days2019-05-25
Company marks the re-encounter of João dos Santos Martins with the team from Continued Project (2015), giving continuity to the processes of collaboration and research begun at that time, then marked by relationships of labor and...
FESTIVAL DDD: DIAS DA DANÇA - COMPANHIA DE JOÃO DOS SANTOS MARTINS
2019-05-07
 Company marks the re-encounter of João dos Santos Martins with the team from Continued Project (2015), giving continuity to the processes of collaboration and research begun at that time, then marked by relationships of labor and affection. Company invests aesthetically in the idea of dance as work, using, for this purpose, case studies that examine the systematization of the movement of factory workers in relationship to machines, from which emerges a concept of choreography as technology or as prosthesis. In parallel, it echoes on how certain dance aesthetics, with libertarian and democratic ambitions, are involved in the reduction of stress points in the body, implementing techniques of efficiency in the performance of a gesture and the use of energy that release effort as an alternative to the rigid "modernity”. Company deals both with work and well-being by considering the way in which dance — as a production canon of reciprocal pleasure (of the spectator, but also of the dancer), and thus difficult to identify socially as labor — interacts with its ways of doing. And while the idea of "company” invokes an hegemonic form of structural and administrative organization in dance, it also implies a common mode of labor: company as a fact or a condition of existence and of being with the other, as a way of providing friendship or pleasure to a group of people in a society.
[Image: José Carlos Duarte]
João dos Santos Martins was born in Santarém, Portugal, in 1989. He studied dance and choreography in various institutions across Europe between 2007 and 2011, including P.A.R.T.S. and e.x.er.c.e. He works as a dancer and choreographer since 2008, often articulating his practice among diverse collaborations, expressed in pieces such as Le Sacre du Printemps (2013) with Min Kyoung Lee, Autointitulado, 2015, with Cyriaque Villemaux and Anthroposcenes, 2017, with Rita Natálio. João has also collaborated with Teatro Praga, he adapted the solo Conquest (2011) by Deborah Hay and performed in works of Eszter Salamon, Xavier Le Roy and Ana Rita Teodoro. In 2017 he curated the cycle New—Old Dance, reflecting on recent dance history in Portugal in which, along with historian Ana Bigotte Vieira, he put together a Timeline for collectively documenting dance practice in past century. His work has been presented in Portugal, Spain, Switzerland, France, Belgium, Austria, Romania, Republic of Korea, New Zealand, Mozambique, Chile, Brazil and Uruguay. His group piece Continued Project (2015) was recipient of the Portuguese Society of Authors' Prize for Choreography in 2016.
- Schedule22h00 - 23h30
- Days2019-05-07
- Price€ 7,50
"aCORdo" emerged when choreographer Alice
Ripoll was invited to participate with a new creation in the occupation Que
Legado? in Castelinho do Flamengo, Rio de Janeiro, in 2017. The work is an
investigation of the legacy to the...
FESTIVAL DDD: DIAS DA DANÇA - ACORDO DE ALICE RIPOLL / CIA. REC (NATIONAL PREMIERE)
2019-05-05
"aCORdo" emerged when choreographer Alice
Ripoll was invited to participate with a new creation in the occupation Que
Legado? in Castelinho do Flamengo, Rio de Janeiro, in 2017. The work is an
investigation of the legacy to the city of big events like the 2014 World Cup
and the 2016 Olympic Games: events that were supposed to bring better living
conditions to its inhabitants.
[Image: Alice Ripoll]
- LocationSerralves Library
- Schedule17h00 - 17h30
- Days2019-05-05
- Price€ 5,00
Company marks the re-encounter of João dos Santos Martins with the team from Continued Project (2015), giving continuity to the processes of collaboration and research begun at that time, then marked by relationships of labor and...
FESTIVAL DDD: DIAS DA DANÇA - COMPANHIA DE JOÃO DOS SANTOS MARTINS
2019-05-05
 Company marks the re-encounter of João dos Santos Martins with the team from Continued Project (2015), giving continuity to the processes of collaboration and research begun at that time, then marked by relationships of labor and affection. Company invests aesthetically in the idea of dance as work, using, for this purpose, case studies that examine the systematization of the movement of factory workers in relationship to machines, from which emerges a concept of choreography as technology or as prosthesis. In parallel, it echoes on how certain dance aesthetics, with libertarian and democratic ambitions, are involved in the reduction of stress points in the body, implementing techniques of efficiency in the performance of a gesture and the use of energy that release effort as an alternative to the rigid "modernity”. Company deals both with work and well-being by considering the way in which dance — as a production canon of reciprocal pleasure (of the spectator, but also of the dancer), and thus difficult to identify socially as labor — interacts with its ways of doing. And while the idea of "company” invokes an hegemonic form of structural and administrative organization in dance, it also implies a common mode of labor: company as a fact or a condition of existence and of being with the other, as a way of providing friendship or pleasure to a group of people in a society.
[Image: José Carlos Duarte]
João dos Santos Martins was born in Santarém, Portugal, in 1989. He studied dance and choreography in various institutions across Europe between 2007 and 2011, including P.A.R.T.S. and e.x.er.c.e. He works as a dancer and choreographer since 2008, often articulating his practice among diverse collaborations, expressed in pieces such as Le Sacre du Printemps (2013) with Min Kyoung Lee, Autointitulado, 2015, with Cyriaque Villemaux and Anthroposcenes, 2017, with Rita Natálio. João has also collaborated with Teatro Praga, he adapted the solo Conquest (2011) by Deborah Hay and performed in works of Eszter Salamon, Xavier Le Roy and Ana Rita Teodoro. In 2017 he curated the cycle New—Old Dance, reflecting on recent dance history in Portugal in which, along with historian Ana Bigotte Vieira, he put together a Timeline for collectively documenting dance practice in past century. His work has been presented in Portugal, Spain, Switzerland, France, Belgium, Austria, Romania, Republic of Korea, New Zealand, Mozambique, Chile, Brazil and Uruguay. His group piece Continued Project (2015) was recipient of the Portuguese Society of Authors' Prize for Choreography in 2016.
- Schedule19h00 - 20h30
- Days2019-05-05
- Price€ 7,50
In Avalanche the two protagonist human beings are being observed by the eye of the Cyclops, as old dust preserved in a block of ice. They are Atlas, walking at the dawn of a new planet, under the weight of a thousand-year-old mela...
FESTIVAL DDD - DIAS DA DANÇA: AVALANCHE DE MARCO D’AGOSTIN (NATIONAL PREMIERE)
2019-04-28
In Avalanche the two protagonist human beings are being observed by the eye of the Cyclops, as old dust preserved in a block of ice. They are Atlas, walking at the dawn of a new planet, under the weight of a thousand-year-old melancholy. The traces of everything that could not remain act as invisible forces over what survived and is now called a rule, a collection, a list of possibilities. Dance lives in a constant tension towards the infinite of enumeration, desperately looking for an effect.
Partnership with: Italian Institute of Culture.
[Image: Marco D'Agostin]
- Schedule17h00 - 18h00
- Days2019-04-28
- Price€ 10,00
Juliana Huxtable is a writer, poet, multimedia artist, DJ and LGBT activist. Her works explores the intersections of race, gender, queerness and identity. Originally from Texas, Huxtable moved to New York where she is a founder of...
JULIANA HUXTABLE - TRIPTYCH
2019-02-28
Juliana Huxtable is a writer, poet, multimedia artist, DJ and LGBT activist. Her works explores the intersections of race, gender, queerness and identity. Originally from Texas, Huxtable moved to New York where she is a founder of the transgender inclusive parties Shock Value and member of the collective House of Ladosha. She is the published author of two books where we can find poems, performance scripts and essays. Her work has been featured in exhibitions at MoMA PS1, Whitney Museum and New Museum in New York and at the ICA and Frieze Projects in London. At Serralves, she presents Triptych, a music performance for electronics, voice, harp, drums and video. Triptych is an assemblage of sounds rooted in Huxtable’s workshopping with frequent collaborator Joe Heffernan and the harpist Ahya Simone, exploring the experience of a subject dissolving into their flesh through fear, joy or excitation.
Image: Juliana Huxtable. Photo by Nathan Bajar (New York Times)
- LocationAuditorium
- Schedule22h00 - 23h00
- Days2019-02-28
- Price€ 7,50
- Serralves Friend€ 3,75
Guests performers: Volmir Cordeiro, Latifa Laâbissi and Stephen ThompsonThe convergence of interests and respective research on the question of the motif and the ways in which it is perceived have led Zeena Parkins and the sce...
STITCHOMYTHIA - NADIA LAURO & ZEENA PARKINS
2018-12-16
 Guests performers: Volmir Cordeiro, Latifa Laâbissi and Stephen Thompson
The convergence of interests and respective research on the question of the motif and the ways in which it is perceived have led Zeena Parkins and the scenographer Nadia Lauro to jointly develop the visual installation and musical performance ‘Stitchomythia’. ‘Stitchomythia’ is an anamorphic carpet designed for performers, whose optical motifs, the topography in anamorphosis - and the perceptual disorder that emanates from them - constitute a musical score unfolded at the scale of the space.
On one hand, ‘Stitchomythia’ follows the paths of ‘Anamorphic Rug’, a visual installation created by Nadia Lauro and inspired by Stanley Kubrick’s ‘Shining’, a film in which the Hotel Overlook, the film's main character, becomes a landscape, a threat, an organism. Lauro snatches the famous geometric carpet from the film’s original fiction and re-thinks it in a space even more constrained than that of the corridors of the hotel. A fictional shift that builds a trompe-l'oeil topography. The two-dimensional carpet gives the uncanny illusion of folds, hollows, waves, hills and ground movements. An anamorphic fiction, this carpet constitutes an optical device governed by the laws of "the art of the secret perspective". Lauro created two versions of this device, first for ‘Augures’ of E.Huynh and then for ‘Chut’ of F. de Chaillé, resulting in a perceptive ambiguity for the viewer, between the visual illusion of a landscape in relief and the bi-dimensional reality on which the performers evolve.
On the other hand, ‘Stitchomythia’ relates to ‘Lace’, an ongoing project that Zeena Parkins begun in 2008, based on a collection of lace fragments from, to date: Scotland, Turkey, Belgium, Spain, Italy, and France. It is a multi-movement composition for improvisers, that proposes lace as a score which viewed from varied distances is perceived as picture, with patterns flip-flopping between near and far illusionary points of view. The result is a multitude of readings suggested by the shapes of the patterns e by the patterns of the shapes - here juxtaposed, layered, overlapped, adjacencies side stepped; actions forming and re-forming, with the supreme joy and possible grounding orientation of the groove. Here is a loop/in a loop/in a loop, a picture of itself, within itself, mise en abyme; shapes to gesture, a gossamer web sounding.
‘Stitchomythia’ offers a space / partition disquiet in its extreme visibility, oscillating between dangerous obsession and bewitchment.
Image: Stitchomythia © Nadia Lauro
As a visual artist and set designer, Nadia Lauro has been developing her work for several decades in various contexts (scenic spaces, landscape architectures, museums). She has conceived set designs, environments, and visual installations with strong dramaturgical power, thus generating new ways of seeing and being together. Nadia Lauro has collaborated with the following international choreographers and performers: Vera Mantero, Benoît Lachambre, Frans Poelstra, Barbara Kraus, Emmanuelle Huynh, Fanny de Chaillé, Alain Buffard, Antonija Livingstone, Latifa Laabissi, Jonathan Capdevielle, Laeticia Dosh, and with Jennifer Lacey with whom she co-authored numerous projects. She recieved a New York Dance and Performance Award (The Bessie) for her visual installation in $Shot (Lacey/Lauro/Parkins/Cornell). In 1998 she founded Squash Cake Bureau with the architect Laurence Cremel to develop landscape design and urban furniture projects. She also designed concerts (Cocorosie, Gaspard Yurkévitch, Dani Siciliano) She has conceived the installations / performances: "Tu montes", "As Atletas", "I hear voices", and has developed scripted environments in museums, theater houses, and art galleries in Europe, Japan, and Korea. For the 4th edition of the New Festival at the Centre Pompidou, she has presented "La Clairière" (Fanny de Chaillé / Nadia Lauro), an immersive visual environment designed to hear "Khhhhhhh", Imaginary and Invented Languages. Since 2014, Nadia Lauro is associate artist to the Extension Sauvage Festival (Latifa Laabissi / Figure Project).
Zeena Parkins is an electro-acoustic composer, improviser and pioneer of contemporary harp practice and performance. Parkins re-imagines both the acoustic harp and an evolution of her original electric ones, through the use of expanded playing techniques, preparations, and custom designed processing. Within a shifting constellation of improvised/composed/gesture/touch/ space/sound/noise/music, Parkins is engaged in translations of sonicity often within multi-channel environments: architectural, emotional, topographical, and social. Commissions include: Whitney Museum, Tate Modern, Sharjah Art Foundation, NeXtWorks Ensemble, Either/Or Ensemble/Ensemble Son, Donaueschinger Musiktage, Sudwestrundfunk, Bang on a Can Spit Orchestra, and Merce Cunningham Dance Company. Awards include: Doris Duke Artist Award, 3 Bessies for her groundbreaking work with dance, DAAD Fellowship, Shifting Fellowship, Foundation for Contemporary Arts, NYFA Fellowship, Prix Ars Electronica Honorary Mention. Residencies include: Atlantic Center for the Arts Master Artist-in-Residence, Herb Alpert/Ucross Prize, Rauschenberg Residency, Civitella Ranieri/Umbertide, Montalvo, Oxford University/The Ruskin School. Collaborations on performances/recordings include: Bjork, Ikue Mori, John Zorn, Fred Frith, Christian Marclay, Butch Morris, Elliott Sharp, William Winant, Nate Wooley, Nels Cline, Bobby Previte, Mick Barr, Mary Halvorson, Brian Chase, Leila Bourdreuil, Yuka C. Honda, Okkyung Lee, Matmos, Yoko Ono, Yasunao Tone, Pauline Oliveros, Kim Gordon, Thurston Moore, Lee Renaldo, ROVA Saxophone Quartet, Myra Melford, and Miya Masaoka. Parkins is Distinguished Visiting Artist at Mills College in Oakland, California.
- LocationSerralves Auditorium
- Schedule18h00 - 19h00
- Days2018-12-16
With: André Alves, Marta Ângela, Nicholas Bussmann, Marcos Cavaleiro, Lucile Desamory, Yusuf Ergün, Michael Guggenheim, Margareth Kammerer, Rudi Katholnig, Eduard Mont de Palol, Leonor Narciso, Rico Lee, Aaron Snyder...
NICHOLAS BUSSMANN - “WANDERING DUNES 002”
DE 2018-09-29 a 2018-09-30
 With: André Alves, Marta Ângela, Nicholas Bussmann, Marcos Cavaleiro, Lucile Desamory, Yusuf Ergün, Michael Guggenheim, Margareth Kammerer, Rudi Katholnig, Eduard Mont de Palol, Leonor Narciso, Rico Lee, Aaron Snyder, Helga Utz
Coming from improvised music, Berlin composer, improviser and conceptual artist Nicholas Bussmann has been developing concepts and algorithms for collective performances. Sets of simple rules make it possible to let amateurs and professionals be part of the creative process. With "Wandering Dunes” again the collective process itself is the topic for proposing the involvement of the audience in an active position, as they can decide if they just want to watch or play. Inspired by the sandbox games, the performance traces links between territory maps and frontiers, strategy and war games, kindergartens and imagination fields in a performance featuring several game leaders and a wandering small choir and musicians. While the multi-language choir Cottbusser Chor performs "The News Trilogy” (of which the first and second parts were presented at Serralves Museum in 2015), the other musicians’ performances refer to nomadic communities still existing in Europe. Therefore, the piece sets in motion a dialogue between three cornerstones: territory, power and creativity. On one side stand the power games and imagination rooted in the past and envisioning the future and, on the other side, the vanishing nomads anchored in the present and resisting settled ownership rules. This is the second iteration of "Wandering Dunes” which was premiered in Innsbruck, at Taxispalais/Kunsthalle Tirol on June 2018, in the context of Nicholas Bussmann’s solo show, ‘Amelica’.
Image: Nicholas Bussmann, Sandbox game WANDERING DUNES, TAXISPALAIS Kunsthalle Tirol, 2018. Photo: Günter Kresser
Support: Goethe Institut
- LocationMuseum Galleries
- Schedule16h00 - 18h00
- Days29-09-2018 - 30-09-2018
ARTISTS: ASUNA (JP), ALEX BACZYNSKI-JENKINS (UK/HR), FRÉDÉRIC GIES (FR/SE), HANNAH CATHERINE JONES A.K.A FOXY MORON (UK), CATARINA MIRANDA (PT), VERA MOTA (PT), XAVIER PAES (PT), RUI PENHA/JOÃO DIAS (PT), FATIMA AL ...
THE MUSEUM AS PERFORMANCE 2018
DE 2018-09-08 a 2018-09-09
 ARTISTS: ASUNA (JP), ALEX BACZYNSKI-JENKINS (UK/HR), FRÉDÉRIC GIES (FR/SE), HANNAH CATHERINE JONES A.K.A FOXY MORON (UK), CATARINA MIRANDA (PT), VERA MOTA (PT), XAVIER PAES (PT), RUI PENHA/JOÃO DIAS (PT), FATIMA AL QADIRI (SN/DE), NINA SANTES (FR), NORA TURATO (HR/NL)
Organised by the Serralves Museum of Contemporary Art, ‘The Museum as Performance’ recognizes the growing significance of performance in contemporary art and further contributes to the history of Serralves as a pioneering cross-disciplinary museum. Encompassing dance, spoken narratives, visual and musical performances, ‘The Museum as Performance’ encourages new directions in the relationship between various practices and the visual arts.
For its fourth edition Serralves presents twelve new performance works by Portuguese and international artists, most of them national premieres, across the spaces of the Serralves Museum and Villa. The programme includes brand-new commissioned works and works adapted to the spaces of Serralves, in recognition of the potential of the Foundation’s unique context. Through voices, bodies, gestures and narratives, the 2-day programme will propose various ways of undoing disciplinary conventions and normativity.
PROGRAMME Saturday, September 8th 14h00 - Welcome by the Museum Director 14h30 – 17h00 – "curva contínua” VERA MOTA - Museum Galleries 15h30 – 15h55 – "Im happy to own my implicit biases" NORA TURATO - Library 16h15 – 16h50 – "Berrante” XAVIER PAES - Museum Hall 17h00 – 18h00 – "Self Made Man” NINA SANTES - Auditorium 17h30 – 20h30 – "Us Swerve” ALEX BACZYNSKI-JENKINS - Museum Hall (durational performance) 19h00 – 19h25 – "Im happy to own my implicit biases" NORA TURATO – Auditorium's Foyer 19h30 – 21h00 – "100 keyboards” ASUNA - Library 20h00 – 20h30 – "Mazezam” CATARINA MIRANDA - Museum Galleries 20h30 – 21h00 – "Owed to Suspension” HANNAH CATHERINE JONES a.k.a. FOXY MORON - Auditorium
Sunday, September 9th 15h00 – 15h30 – "Mazezam” CATARINA MIRANDA - Museum Galleries 15h30 – 15h55 – "Im happy to own my implicit biases" - NORA TURATO - Sacristy of the Chapel 16h30 – 17h00 – "Owed to White Noise” HANNAH CATHERINE JONES a.k.a. FOXY MORON – Auditorium 17h30 – 18h00 - "Metal Locker Acoustics" XAVIER PAES - Chapel 18h00 – 22h00 – "Dance is Ancient” FRÉDÉRIC GIES - Serralves Villa (durational performance) 18h30 – 18h45 - "auditorium” RUI PENHA/JOÃO DIAS - Museum Galleries 18h30 – 20h00 - "100 keyboards” ASUNA - Library 20h15 – 20h30 - "auditorium” RUI PENHA/JOÃO DIAS - Museum Galleries 20h30 – 20h55 - "Im happy to own my implicit biases" NORA TURATO - Sacristy of the Chapel 22h30 – 23h30 – "Shaneera” FATIMA AL QADIRI - Auditorium
Access subject to purchasing a ticket to the Museum(10€) 25% discount on the purchase of two-days ticket (15€). Cumulative with usual discounts (50% for students and 65+). Serralves Friends: Free entrance Subject to the room's capacity.
Asuna is a young Japanese artist that makes use of various keybords, electronics, old organs and sound toys for children to make his own brand of drone music / electronica. His music blends influences from lo-fi pop, freak folk, noise, punk, minimal and Tokyo’s improvisation scene.
Alex Baczynski-Jenkins is a London and Warsaw-based artist and choreographer. His practice is concerned with the mediation and politics of affect, desire and embodiment. Often taking social, everyday performances, he amplifies and mutates them to produce affective spaces of re-imagining and undoing normativity. Frédéric Gies is a French Stockholm-based dancer and choreographer. Gies’ work focuses on the articulation between dance, choreography and politics, and is informed by his participation in techno clubs and rave cultures. The dance he creates collapse in various ways the hierarchies and distinctions between different dance forms.
Catarina Miranda is a Portuguese artist working with languages that intercept image, movement, voice, scenography and light, approaching the body as a vessel for the transformation and mediation of hypnagogic states, as well as for the gestures and procedures of an acute conscience of the here and now.
Hannah Catherine Jones is a London-based artist, researcher and composer. Under the pseudonym Foxy Moron, she creates works that juxtapose ancient musical modalities with sci-fi timbres. These ‘sounds in opposition’ are a vehicle to think through the painful legacies of slavery, but also the conceptual possibilities of Afrofuturisme. Vera Mota is a Portuguese artist whose practice, encompassing performance, sculpture, drawing and installation, highlights the physical qualities of carefully selected materials. Visually related to minimalist, her work points to the conflict between a quest for order and a simultaneous fascination with the possibilities of chance. Xavier Paes is a Portuguese artist working in the fields of visual arts, performance and experimental music. His practice explores and potentiates, namely through friction and percussion, the production of sound by everyday objects – wood stakes, metal lockers –, in a ritualistic approach to primitivism that transport the viewer/listener to distant times, archaic dimensions. Rui Penha is a Portuguese Composer, media artist and performer of electroacoustic music. His recent production includes interfaces for musical expression, sound spatialization software, interactive installations, musical robots, and autonomous improvisers. One of his latest compositions will be performed by João Dias, a young percussionist who has recently graduated in percussion performance. Fatima Al Qadiri is a Senegal-born, Kuwait-raised and Berlin-based artist. A musician, composer, DJ and visual artist, her work, encompassing electronic music, video, installation and DJ-sets explores themes related to war, sociocultural identities, concepts of beauty and taste, and Western perceptions of non-European cultures. Nora Turato is a Zagreb-born, Amsterdam-based artist. In her spoken word performances Turato uses slices of daily conversations, literature, social media posts, politics and (personal) frustration, that merge into an impulsive, passionate and melodic soundscape: a stand-up poetic slam, that flirts with hip-hop and punk, moves between citing and singing, and verbalizes rhythmic beats.
- LocationMuseu de Serralves
- Days08-09-2018 - 09-09-2018
- Price€ 10,00
I/E is an archaeology of sound, a research in sonic stromatography*, cracking into hidden frameworks of the city. Sounds are recorded from below the surface, the sea and the underground world, moving upwards in an attempt to locat...
"I/E" - TAREK ATOUI
2018-06-30
 I/E is an archaeology of sound, a research in sonic stromatography*, cracking into hidden frameworks of the city. Sounds are recorded from below the surface, the sea and the underground world, moving upwards in an attempt to locate, decipher and understand the identity of the place. The recordings transcribe the multiple layers of the landscape. For this project Tarek Atoui has been collaborating with sound recordists. Porto’s edition will count with Eric La Casa. Together they will navigate the acoustics, refractions and reverberations of waterfronts and their surroundings using different microphones to create a sound scan on a macro and micro scale. Some of the sounds go back to thousands of years ago and others belong to the contemporary city. From listening to the human and natural activities of this environment, they will explore how sound can reflect the cultural, social and economic realities of this place. The research process will be developed during a residency in Porto at Sonoscopia and will be documented by the analogue photographer Alexandre Guirkinger. The raw material amassed through the sound recordings forms the point of departure for an interpretation of the site, a composition and a series of performances that extrapolate outwards into the space, re-introducing to the site the sounds of its own unapparent stories. I/E was originally conceived by Tarek Atoui as a sound studio, a listening space and a performance platform housed inside a sound-proof shipping container. Atoui thought of I/E as a polyvalent tool that would allow him to record sound, perform and collaborate with a variety of musicians in unusual outdoor contexts. In the case of its iteration in Porto, the sound studio work will be housed at Sonoscopia and the performances staged at Serralves Park with the participation of the recordists and Sonoscopia associated artists and musicians Alberto Lopes, Gustavo Costa and Henrique Fernandes. I/E was first presented as a prototype version in October 2013 at the Carrousel du Louvre as part of FIAC Art Fair, installed facing the Louvre’s Pyramid. In the following years, I/E has been touring from one harbor to another, such as Athens, Abu Dhabi and Singapore. It now sets ground in Porto.
* Stromatography is an archaeological term which denotes the process of uncovering the different historical layers of a site.
Coproduction: Sonoscopia
Courtesy Galerie Chantal Crousel
Thanks to: Porto de Leixões/APDL Águas do Porto/Câmara Municipal do Porto Douro Azul
Douro Marina Reserva Natural Local do Estuário do Douro/Câmara Municipal de Vila Nova de Gaia Santa Casa da Misericórdia do Porto
Image (c) Locus Athens
Atoui was born in Lebanon in 1980, and moved to France in 1998, where he studied sound art and electro-acoustic music. He served as artistic director of the STEIM Studios in Amsterdam, a center for the research and development of new electronic musical instruments in 2008. Atoui has presented works internationally including the Fondation Louis Vuitton, Paris; the New Museum, New York; Sharjah Biennial 9 and 11, United Arab Emirates; La Maison Rouge, Paris; Media City, Seoul; Haus der Kunst, Munich; Performa 11, New York; doCUMENTA 13, Kassel; Serpentine Gallery, London and Bonniers Konsthall, Stockholm.
Born 1980, Villeneuve-Saint-Georges, France. Lives and works in Paris, France.
Alexandre Guirkinger graduated from IEP in Lille and did a brief stint at Magnum Photos as a production manager before deciding to focus on photography fulltime in 2006. He has worked for M magazine, the Wall Street Journal Magazine, AD and T Magazine, developing a photographic language that runs the gamut from landscapes to portraits, still lifes and archival images. In 2010, Guirkinger started making collaborative pieces with such artists as Étienne Chambaud, Raimundas Malasauskas, Alex Cecchetti and Tarek Atoui. Meanwhile, he has worked on personal projects that have been likened to conceptual documentaries. In 2015, he completed his long-term Maginot Line project which was exhibited at Les Rencontres d'Arles in 2016.
For approximately 20 years, La Casa has been questioning the perception of reality and has expanded the notion of what’s musical today. Through his aesthetic of capturing sound, his work fits equally into the fields of sound art and music.
His experimentations/improvisations with the everyday soundscape lead to site specific installations and musical pieces using only his field recordings, for CD releases and audiovisual productions (such as for Ken Jacobs and Luke Fowler). La Casa also produces radio essays for France Culture on listening issues (Habiter, 2015) and co-runs the sound art label Swarming (with Philip Samartzis).
Sonoscopia is an association that creates, produces and promotes artistic and educational projects, focused on experimental music, building new instruments, sound research and its intersections with literature, dance, theatre and visual arts. Since its inception in 2011, Sonoscopia has produced over 500 events, art projects, educational activities and publications; the organization has also visited approximately 20 European countries as well as geographies as distant as the United States, Lebanon, Japan, Tunisia and the United Arab Emirates, and it has hosted hundreds of artists from all over the world in its creation and residency center. Partipating in I/E will be founding members Gustavo Costa and Henrique Fernandes, as well as Alberto Lopes.
- LocationSerralves Park
- Schedule18h00 - 19h30
- Days2018-06-30
- Price€ 5,00
- Serralves Friend€ 2,50
CYCLE "ÁLVARO LAPA: ALL OF TIME”: PERFORMING ARTS . CINEMA . TALKSPREMIEREo-chá-múIsabel CarvalhoIsabel Carvalho will read a sequence of short narratives in variable order, in two moments, which she calls O-CHÁ-MU (THE MU TE...
o-chá-mu
2018-05-13
CYCLE "ÁLVARO LAPA: ALL OF TIME”: PERFORMING ARTS . CINEMA . TALKS
PREMIERE o-chá-mú Isabel Carvalho
Isabel Carvalho will read a sequence of short narratives in variable order, in two moments, which she calls O-CHÁ-MU (THE MU TEA). Mu tea was suggested by Professor Álvaro Lapa to students in their first year of psychology in 1995, in one of their first classes, with no obvious reason to justify this. Isabel Carvalho later learned that it is a tea made from several herbs and roots that are believed to strengthen the female reproductive organs, and should only be drunk in moderation because it possesses considerable yang energy. As a metaphor for memory, the choice of the title reflects the updating of old school memories, recovered and remixed with her work after finishing her studies and her resumed contact with Álvaro Lapa’s oeuvre.
Image Copyright : Isabel Carvalho.
Isabel Carvalho currently lives in Porto. Over recent years her artistic work has developed around the visual arts, writing and editing, including a strong research component - crossing scientific and speculative approaches, such as methodology. She has participated in international exhibition and editorial projects. Alongside her artistic work she dedicates her time to teaching the subjects of Drawing and Illustration.
- LocationSerralves Auditorium
- Schedule17h00 - 18h30
- Days2018-05-13
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